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MUSIC AND MUSICIANS 
OF MAINE 


BY 


GEORGE THORNTON EDWARDS 


Being a History of the Progress of Music in 
the territory which has come to be known as 
fee St ATE OF MAINE 
from 1604 to 1928 


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THE SOUTHWORTH PRESS 
PORTLAND, MAINE 
1928 


GEORGE THORNTON EDWARDS 


DEDICATION 


To all Maine Musicians and Music Lovers, 
wherever located; to all who were born or 
have resided within the limits of the State 
of Maine; to those who are living, as well 
as to those who have passed to the glorious 
West; to those, who by their great talents, 
or unceasing endeavor, have, through mu- 
sic, brought fame to the State of their 
nativity or adoption, and “to such as play 
only the bass viol,” this book is affection- 
ately dedicated by the Author. 


PREFACE 


Some one has said that no history, which would be complete, could be written 
of the music of Maine, but, if truth, which is always incomplete, provides for its 
own further extension, then this would, in itself, seem to be an excellent reason 
for undertaking the writing of it, since history, even though it be incomplete, is 
truth, and therefore furnishes the very vehicle for its own continuance. 

It is not the purpose of the author to burden the reader with an enumeration 
of the difficulties that beset him during the nearly twelve years of constant _en- 
deavor to produce a history of Music and Musicians of Maine that would be 
worthy of the Pine Tree State, but one may gather some understanding of the 
thoroughness with which the work has been gone into when he learns that, in 
addition to the effort expended in consulting hundreds of books and volumes of 
reference, more than a million columns of Maine newspapers covering a period 
of a hundred and twenty-five years, were carefully scanned, and upwards of ten 
thousand notations were made therefrom, that no item of musical importance 
should escape. 

Music was apparently not held in such high regard by editors in the early 
days, as now, especially in those before Maine became a State, and such notices 
of musical events as occasionally appeared, were notably conspicuous for their 
brevity. Important musical references were contained in a few lines without 
captions, and difficult to discover, hidden away, as they oftentimes were, between 
advertisements which sound strange to the ears of those living in the twentieth 
century, among which were announcements of arrivals of shipments of rum and 
molasses, sales of lottery tickets, aromatic snuff, spermicetti, breweries, church 
pews and gunpowder, testaments at auction, and one cent rewards for runaway 
apprentices. 

That such a work as a history of music and musicians of Maine was needed is 
supported by the fact that when, in his search for material, especially in relation 
to the older musical societies, and for copies of programs that were given by them, 
the author sent inquiries to every historical society in the State, with but one 
exception, none were able to furnish any information whatever, as nothing of a 
musical nature was preserved in their files. 

The author has indeed been fortunate in having had, for more than a quarter 
of a century, a large acquaintance among the older Maine musicians, with some 
of whom he has enjoyed a genuine and lasting friendship and he has received, in 
his undertaking, the generous assistance and codperation of many representative 
people, including musicians, historians, authors, librarians and officers of music, 
literary and history clubs, some of whom now are, or during their lifetime were, 
recognized authorities on the subjects regarding which they were consulted, and 
many of these were able to contribute, from their personal memories of some of 
the earliest musicians of the State, invaluable material for this work. 

Among these, to all of whom he herewith acknowledges an everlasting debt of 
gratitude, may be named the late Frederick R. Sweetsir, musician, historian, and 
life-long friend of Annie Louise Cary, for the generous loan of more than a 
hundred personal letters written by the diva; Sarah J. Merrill, her niece and 
beneficiary, for the privilege of examining more than three hundred press clip- 


Vil 


Vili PREFACE 


pings collected by this great singer on her tours of America and of the continent; 
the late Julia Norton Deland, the last surviving soloist of the Portland Sacred 
Music Society and a neighbor of John Knowles Paine in his boyhood days, who 
by her remarkable memory, in the one hundred and third year of her life, af- 
forded the author a rare opportunity to verify statements of facts regarding this 
old music association and to re-discover the birthplace of America’s first great 
composer, the location of which no other living person remembered; Mrs. Josiah 
Pierce (née Isabella L. Millett) of London, England, founder of the Portland 
Rossini Club, for first hand information regarding the origin of this historic or- 
ganization; the late Nancy T. Sleeper, whose manuscript history of music in 
Rockland is one of the most complete local histories of music in the State of 
Maine; Mrs. Frank L. Tuck, first President of the Schumann Club of Bangor, 
through whose contributions to the history of music, which were published in 
the Bangor daily papers, has been preserved much that would otherwise have 
been lost; Elise Fellows White, historian and recitalist and member of the 
Skowhegan Historical Society, whose sketches of music in the early days in 
Skowhegan, as the result of much careful research, are highly valued for their 
reliability; the late Mary Waters Thurston, widow of Samuel Thurston, whose 
manuscript of his musical memories of Portland, is replete with information 
concerning interesting events in the periods preceding and following the Civil 
War; Caroline Fenno Chase, for more than twenty-five years a prominent music 
teacher in the Capital City of the State and author of a sketch of the history of 
music in Augusta from the date of its incorporation as a city; Annie J. O’Brien, for 
many years organist at St. Dominic’s Church of Portland and author of a manu- 
script sketch of the history of music of the Catholic Churches of Maine; Dora 
Jameson Bird, past president of the Rubinstein Club of Rockland, and author of 
a history of that musical society; and Mrs. E. T. Wasgatt, past president of the 
Mendelssohn Club of Bangor, and author of a sketch of that organization, for the 
generous permission of all of these to use from their valuable manuscripts what- 
ever seemed best —a privilege of which the author has freely availed himself; 
Miss M. B. Fairbanks, daughter of Hon. Joseph Woodman Fairbanks, a de- 
scendant of Supply Belcher and well known genealogist, whose careful research 
and writings in matters connected with Farmington history are of unquestioned 
authority; Alice Jones Skolfield, one of the founders of the Clef Club of Lewiston, 
who, for half a century, was organist in leading churches in that city; the Right 
Rev. John Gregory Murray, Bishop of Portland, a close student of the history of 
the early Catholic Missions in America; the late Mrs. Frederic E. Boothby, 
former president of the Cecilia Club of Waterville; Dr. James A. Spalding, music, 
art, and literary critic and author of valuable historical documents; the late 
Juliet Stanley Warren, for many years prominent in music in Winthrop; the late 
Levi W. Ballard, founder of musical organizations in Androscoggin County; the 
late Charles W. Shannon of Saco, for nearly sixty-five years closely identified with 
all important musical events in York County; the late Frederic $. Davenport of 
Bangor, a leader, in its early days, in the affairs of the Old Penobscot Musical 
Association; Prof. Walter R. Spalding, head of the Division of Music at Harvard — 
University; the late Mrs. James A. McFaul, first president of the Maine Federa- 
tion of Music Clubs; Julia Edwards Noyes, president of the Portland Rossini 
Club and of the Maine Federation of Music Clubs; Louise Armstrong, secretary 


Pre a CE 1X 


of the Portland Rossini Club; Jennie King Bragdon, for years a leading vocalist 
in Portland; Adelbert Wells Sprague, director of the Department of Music, Uni- 
versity of Maine; Hon. John T. Fagan, former chairman of the Portland Music 
Commission and an authority on music of the American Revolution and band 
music in the State; Major John M. Gould, son of Edward Gould, first president 
of the Portland Sacred Music Society; Ira Stockbridge, who, as Maine’s pioneer 
impressario and promoter of the famous Stockbridge Course of entertainments, 
in Portland, had, perhaps, a broader acquaintance with professional and amateur 
musicians throughout the State, and artists of national and international repute 
than any other in his day; Rev. H. E. Dunnack, State Librarian of Maine; 
Evelyn L. Gilmore, Librarian of the Maine Historical Society and Alice C. 
Furbish and Jane L. Burbank, past and present librarians of the Portland 
Public Library and their assistants; Eva L. Shorey, music editor of the Bridg- 
ton News; Mina Caswell, music editor of the Portland Evening News and Jennie 
Pierce Whitney, formerly music editor of the Portland Daily Press; all of whom 
in the interest of accuracy, codperated with the author and gave freely of 
their valuable time, in furnishing essential information or checking up facts as 
stated in the text, that this history might be a dependable reference work. 

The author desires to take this opportunity to thank the members of the 
Eighty-third Maine Legislature for passing the resolve which made it possible 
to place a copy of Music and Musicians of Maine in every public library and 
normal school in the State, and especially the Hon. Henry F. Roy, who intro- 
duced the resolve into the Legislature and Senator Herbert E. Holmes, Chair- 
man, and the other members of the Library Committee, all of whom gave the 
Resolve their friendly attention; and, in passing, to pay a tribute to his beloved 
music masters, George W. Marston and Hermann Kotzschmar, the memories 
of whom, for more than forty years, have been held among his most cherished 
possessions, and without which, this work would never have been undertaken. 

The attention of the reader is called to the fact that many of the quotations in 
this volume are from copyrighted works of other authors. These excerpts, have, 
in each case, been used with the consent of the author or publisher and credit has 
been duly given in these pages. Those who would copy them should first ob- 
tain from the copyright owners, written authority to use them. 

In addition to the credits which have been given in the body of the work, the 
author would make acknowledgment for permission to quote from other books 
or publications as follows: 

Oscar G. Sonneck, author of “James Lyon and James Hopkinson,” to whom 
is accredited the distinction of having been first to bring Lyon to public atten- 
tion, and who is regarded as the source of highest value for that composer, for 
quotations from this authority; the musical magazine, Melody (Walter N. Jacobs, 
Inc., publisher), for selections from the diary of Frederick Nicholls Crouch; the 
Atlantic Monthly for reprint of a portion of John Fiske’s critique of John Knowles 
Paine’s “St. Peter”; The Harvard Graduates Magazine for citations from an 
editorial on “Oedipus Tyrannus”; the Right Hon. Sir Henry Norman, Bt. M.P., 
London, for extracts from his book “The Harvard Greek Play”; Louis C. Elson 
for a paragraph from his work “The History of American Music”; Houghton- 
Mifflin Company for use of Richard Watson Gilder’s beautiful poem, ‘The 
Voice,” which, as will be seen, opens the sketch of Lillian Nordica in these pages; 


x PREFACE 


the late Henry T. Finck for reminiscences of Nordica, and references to her art, 
from his book, “Success in Music and How It Is Won”; and Oliver Ditson Com- 
pany, Boston, publishers of “Opera Singers,” by Antonne Kobbé, for extracts 
from that valuable contribution to American musical history. 

The author is indebted to those State and town historians who have recorded 
items of musical interest in their works, and he would especially commend to 
those who would continue their search for facts of a musically historical nature: 
Williamson’s “History of Maine,” Williamson’s “Bibliography of Maine,” Wil- 
liamson’s “History of Belfast” (Houghton-Mifflin Company, Publishers), North’s 
“History of Augusta” (Clapp and North, Publishers), Willis’ “History. of Port- 
land” and Emma Huntington Nason’s “Old Hallowell on the Kennebec.” 

In compiling the upwards of eighteen hundred brief biographical sketches and 
references, which appear in Chapter VII, of the native and resident Maine mu- 
sicians, nearly all of whom were living at the beginning of the year, 1928, no ef- 
fort has been spared to make it of value to students of Maine musical history. 
None should expect to find references to every living musician in the State in 
one volume, even though it were exclusively devoted to that subject, but much 
less so within the limits of one chapter. 

There may be quite complete sketches of certain musicians whom some may 
think as of not very great importance, while of others, who may be held in high 
regard, musically, there may be those whose names do not appear at all; but 
there has been no intentional discrimination by the author, who, in his effort to 
compile brief biographies of a fairly representative list of living Maine musicians, 
mailed thousands of questionnaires to all parts of the country that he might be 
enabled to give every Maine musician, of whom he had knowledge, that credit 
to which he should be entitled in so small a portion of a book devoted to such 
an extensive subject. 

Those who did not respond to requests for information regarding themselves 
will, of course, have no reason to complain if the references to them in this chapter 
are found to be brief or if their names do not therein appear, while, with those 
who have been unintentionally overlooked, the author can only plead forgiveness. 

It is to be regretted that some whose talents and accomplishments really 
should entitle them to considerably more space than has been allotted them be- 
tween these covers, have been so modest that they felt that their little biographies 
would be out of place in a volume in which so many of those who stand high in 
the music of the State and Nation were to be included. 

It is believed, however, that here will be found personal sketches of a suffi- 
cient number of living Maine musicians to insure the value of this section to 
future historians of the music and musicians of the State of Maine, and it is 
hoped that this chapter may prove of service to those students of music who give 
it their attention, for where it has been possible to ascertain it, the author has 
given a synopsis of the educational equipment of those who are teachers of 
music, that students may be better enabled to choose intelligently from them, 
those who are best prepared to instruct in the branches of music which they most 
desire to study. 

The author trusts that the true worth of the work will be found, in its preserva- 
tion of the history of music in Maine, since its beginning, by recording the prin- 
cipal facts available, that it may thus become.a standard work of reference and a 


PREFACE i 
recognized source book for libraries, women’s clubs, musical, literary and his- 
torical societies, schools and colleges; that, through its being placed in the public 
and school libraries of the State, talented young singers and musicians may re- 
ceive inspiration from the life stories, contained herein, of Annie Louise Cary, 
Lillian Nordica, John Knowles Paine, Luther Whiting Mason and other Maine 
artists and educators, who, by their unremitting work and constant self denial, 
won success and renown; that, through it, others may be informed of what the 
State has to offer in the way of educational and cultural advantages, both in the 
study and in the performance of music; and, in letting it be known to what extent 
Maine has contributed to the world, truly great singers, composers and educators 
in music, that all who reside, both within and without its borders, may come to 
know of the leadership of Maine in the Music of the Nation. 


COUNT ENTS 


PROLOGUE Music of the Indians of Maine 1497-1639 


Pages 1 to 8 


First Musicians of Maine —Music a compelling factor in Indian life—Nith Song of the 
Eskimos — Penobscot Barter Song— Passamaquoddy Song of Greeting— First white man’s 
song heard in Maine waters — First recorded history of music in Maine territory — Singing of 
chants at first celebration of Midnight Mass in Maine — Vespers and Matins chanted on Island 
of St. Sauveur— Early Catholic missionaries, first music teachers in Maine — Father Gabriel 
Druillettes assists Indians in singing — Father Rale forms choir of forty young Indians — Death 
of Father Rale— Bishop Cheverus hears Indians sing— The French settlers are driven to 
Canada — First music performed at any English settlement in America, at Sagadahoc, Maine — 
“Mary and John” and the “Gift of God” — Development of music of Maine traced from the 
earliest English settlements. 


CHAPTER | Music of the Province of Maine 1640-1775 


Pages 9 to 19 
Colonists an educated people — Cultivating music in the wilderness — The Bay Psalme Book — Odd 
ideas regarding singing—A strange questionnaire regarding belief in singing— Rev. John 
Cotton’s Tract on Music — Children musically starved — How ability to read music became a 
lost art among the colonists — Melodies corrupted — Music sinks to low plane — Tunes “twisted 
and tortured” — Singing in the meetinghouses — Discords grateful to ears of colonists — Walter’s 
Singing Book — Reformation of music in America — Rev. Thomas Symmes’ lectures on the art 
of singing — Notable exponents of reformation in manner of singing — Singing societies established 
— Objections to singing in new way — Colonists excommunicated for singing by note — Council 
of the churches held to regulate disorders occasioned by regular singing — History of early music 
closely allied to that of churches — No music where there was no church — First church east of 
Saco River — Growth of music checked by depredations of Indians— Dr. Watts’ Hymns in- 
troduced — Singers’ seats — Musical limitations of most congregations — “Accomplished singers”— 
Amusing activities of the tything-man — Music on the Continent — First pipe organ in America — 
Opposition to its use— “Lining out the psalms” — Patience of Portland people ruling charac- 
teristic — Spinning and singing — James Lyon — First American composer a resident of Maine — 
Urania — Hood’s statement that it ruined its publisher — Unjust criticisms of prejudiced _his- 
torians — First author in Maine to print books of own composition — Lyon’s parentage — Re- 
ceives his Master’s Degree — First minister of Parish of Machias— Lyon an ardent patriot — 
Subsists on fish and clams that he may carry on his work of preaching the gospel — Anecdote of 
his color-blindness — Participates in America’s first naval engagement — Offers to head expedi- 
tion to take Nova Scotia and add another province to America — Lyon considered by Prince- 
tonians a “Great Master of Music” — His compositions sung at Princeton College — His music 
‘ on programmes of the Philadelphia Uranian Society — William Billings and his “New England 
Psalm Singer’ — A new era of psalmody in New England — British hymns barred — Churches dis- 
rupted by discussions on music— Music neglected during war with England — Declaration of 
Independence — Maine becomes a district of Massachusetts. 


Cuapter II Music of the District of Maine 1776-1819 


Pages 20 to 41 
English Hymns continue in disfavor — Native music applauded — The American composers’ op- 
portunity — Attempts at “fuging” — “The American Harmony” — “The Harmonia Americana” 
Supply Belcher — “The Handel of Maine” —““The Harmony of Maine” — How Bangor came to 
be named for a psalm tune — Music and arts again neglected — Penalty for sleeping during the 
sermon — Musical culture in Hallowell — Her intellectual leaders — John Merrick — The Vaughans 
— Social life in Hallowell—Mrs. John Sheppard—The Abbotts— Going to meeting on 
Sunday — The Old South Church — Sweet singers of old Hallowell — Discussion regarding modes 
of singing in Brunswick churches—First musical instrument to be manufactured in Bangor—Bass 


Xiil 


XIV CONTENTS 


viol introduced into church choir in Augusta —Interest in music increases in Maine — Many 
singing schools organized — “The Village Harmony” — “Templi Carmina” — “Baptist Hymns” — 
“Columbian Harmony” — Abraham Maxim — “Northern Harmony” —Hymn tunes named for 
Maine towns — Other psalm books published —A Hymn written under strange circumstances — 
— First instruction book of instrumental music published in Maine —“The Musical Repertory” 
—“The Parish Harmony” —”Songs of Zion”—The notable “Hallowell Collection” — “The 
Salem Collection” —“The Ancient Lyre’—A quaint advertisement —“Temple Harmony” — 
Edward Hartwell — “The Chorister’s Companion” — Music in the Longfellow family — Lectures 
on music and oratorio— Dr. Samuel Emerson—A drummer boy at Bunker Hill—Dr. Ammi_ 

Ruhamah Mitchell— The Hans-Gram Musical Society —Music diverted to secular purposes— 
Blue laws of Massachusetts — Old fashioned singing schools flourish — Principal musical centers 
in Maine at this time— First church organist in Portland—The Hancock Musical Society — 
Opera first performed in Portland — Elizabeth Arnold — Early secular concerts —The Legend of 
Fiddler’s Reach — Blue Hill originally named for a musician— The Handel Society of Maine — 
John Merrick — Prentiss Mellen — Maine becomes a state. 


Cuapter III Music of the State of Maine 1820-1835 
Pages 42 to 68 


Influence of the Handel and Haydn Society of Boston on Maine music — Early concerts at as- 
sembling of legislature in New Hampshire — First musical society in America to be named for 
Beethoven — First officers of Beethoven Musical Society of Portland — Conditions adverse to 
cause of music in Maine — Portland’s industries and arts paralyzed by embargo act — First place 
of meeting of Beethoven Musical Society — Works of Handel, Haydn, Beethoven and Mozart 
undertaken — The organ of the Old Second Parish Meeting House, Portland — Records and 
programs of the Beethoven Musical Society — A more powerful organ installed at Second Parish 
Meeting House — Mr. and Mrs. Ostinelli— Charles Nolcini and Silas Allen — The First Parish 
Organ — The organ of the Beethoven Musical Society — Mysterious notice regarding playing of 
society’s organ — The swan song of the Beethoven Musical Society is sung— Contrast between 
music in America and in Europe in the beginning of the century — Members of the old Beetho- 
ven Musical Society, and who they were — Mr. Holland’s singing school in Augusta — The Philo 
Harmonic Society of New Gloucester — The Handel Society of Bath — The Portland Handel and 
Haydn Society — Musical instruments excluded at Freeport and Brunswick churches — Bass viol 
introduced in Belfast churches — Organ installed at St. Paul’s Church, Portland — The “Hayden 
Society” of Brunswick — Fiddler Gray of Portland— How music was used to circumvent the 
blue laws — Description of old Rockland choir — Prominent Winthrop singers — Maine musical 
publications — Old music teachers and singing schools — Author of “America,” Samuel Francis 
Smith, a resident of Maine — John Maxim — Minor Maine composers — Period especially notable 
for development of taste for classical music among the common people of the State. 


CuaptTer IV Music of the State of Maine 1836-1856 
Pages 69 to 112 


Attempt to found academy of music in Portland — Program performed — First concert by the 
Portland Sacred Music Society — Oratorio “Creation” first performed in the State of Maine — 
A remarkable performance—-A marvellous Celestial spectacle— First published program of 
society — Oratorio “David” performed — Performance of “The Messiah” — The Ilsley family — 
Soloists of the Portland Sacred Music Society — Its officers — Oratorios performed by the society 
— Lectures on music—Orchestra of the Portland Sacred Music Society — Frederick Nicholls 
Crouch — His eccentricities — His. death in Portland—Casco Trio— Cumberland Musical As- 
sociation — High standard in music set by Portland Sacred Music Society reflected throughout 
the State— Concerts by other musical societies — “The Mocking-birds” — Visiting artists from 
other states — Mr. Jungnickle — Hallowell Harmonic Society’s concerts of Ancient Music — The 
Old South choirs — Maine State Musical Association — Music Festivals held in Portland, Bangor, 
Lewiston, Augusta and Bath — Records lost in burning of Bangor Public Library —Old singing 
teachers of Bangor — Forming of the Penobscot Musical Association —Its officers —Its musical 
activities —Its notable leaders— Four day music festivals — Lectures on music — Publications 


CONTENTS XV 


of Penobscot Musical Association — Luther Whiting Mason, internationally honored educator — 
First to introduce American music to the Japanese nation — Luther Orlando Emerson, first com- 
poser of note to be born in the State of Maine— Other prominent musicians of the period — 
Maine musical publications. 


CHAPTER V Music of the State of Maine 1857-1896 

Pages 113 to 219 
The Haydn Association of Portland — Its Officers —Its outstanding musical achievement — John 
Knowles Paine, great American composer — His early life in Portland — His oratorio “St. Peter” 
— First performance of an oratorio by an American, in America — “Oedipus Tyrannus” — The 
opera, “Azara’”’— Other notable compositions — Receives highest praise from critics — Portland 
Rossini Club, oldest musical club in America, whose membership is composed of women — Its 
officers and members — Boston Peace Jubilee — Notable musical clubs, quartettes and church 
choirs of this period — Hermann Kotzschmar— George W. Marston—A hand organ band — 
Bangor Conservatory of Music — County music conventions and choral societies — Annie Louise 
Cary — Her girlhood and ambitions — Her studies abroad and return to America — Her public 
appearances and triumphs — Her home life and her charities. 


Cuapter VI Music of the State of Maine 1897-1928 
Pages 220 to 354 


Maine Festival Chorus — The thrill of its first music festival — Its conductor and its officers — Com- 
pletes its thirty years as state wide organization — Its influence on music in the State — Eastern 
Maine Festival Chorus carries on work — Lillian Nordica — Her childhood and parentage — Her 
capacity for study and work — Her success — The crowning event of her life— Her tragic death 
— Emma Eames and her career — Geraldine Farrar, “a granddaughter of Maine” — Saco Valley 
music festivals — Community singing — Chamber music — Singing clubs and orchestras — Quar- 
tettes — Choirs and organists—— The Kotzschmar Memorial Organ, Portland— The Portland 
Music Commission — Music study clubs of Maine — Maine Federation of Music Clubs — Maine 
composers — Songs with Maine as their theme — Old time fiddlers — Music of the schools and 
colleges — Musical industries — Historic instruments and collections — Bands and _ professional 


orchestras. 


Cuapter VII Biographical Section 1928 


Pages 355 to 477 
Brief paragraphs referring to more than eighteen hundred living Maine musicians. 


LISTOFILLUSTRATIONS 


Page 
GEORGE THORNTON EDWARDS Frontispiece 
Photo by Kendall, Portland. 
A PENOBSCOT SONG OF GREETING 2 
Words and music from “The Indians’ Book.” By Natalie Curtis. 
“THE NORSEMEN” 3 


From whose ships may have been heard the first white man’s song to be wafted 
across Maine waters. From a steel engraving by J. Andrews and J. Duthie (1850), 
made from a drawing by H. Billings. 


FATHER RALE 7 


(Who formed a choir of forty young Abnakis Indians in 1693), in his chapel at 
Norridgewock, Maine. From a steel engraving by D. L. Giover (1850), made 
from a drawing by H. Billings. 


TITLE PAGE, OF “URANIA” 15 


Compiled by James Lyon (1761). The First American Composer, who for nearly 
a quarter of a century was a resident of Maine. From a photostat. Courtesy 
of Arthur B. Hunt, New York. 


SUPPLY BELCHER, “THE HANDEL OF MAINE” 21 


Compiler of “The Harmony of Maine” (1794). From an old painting in the Hiram 
Belcher Homestead in Farmington. Courtesy of Miss M. B. Fairbanks. 


THE OLD SOUTH CHURCH, HALLOWELL 27 


Built in 1796. Famous for its music and its choirs. From an old print loaned 
by Miss Annie F. Page. 


ASSEMBLY HALL, KING STREET 36 


Where dramatic and musical entertainments were given as early as 1794 and 
where opera-was performed for the first time in Portland. From a photograph 
taken by the author in 1927. 


ELIZABETH ARNOLD POE, MOTHER OF EDGAR ALLAN POE 37 


Who, as Elizabeth Arnold, at the age of nine, charmed Portland audiences (1796) 
with her singing at the Old Assembly Hall on King Street. From an old print. 
By permission of Dr. Appleton Morgan, New York. 


JOHN MERRICK 39 


First President of the Handel Society of Maine (1814). From a photograph of 
a painting by C. L. Elliott (1856), loaned by Miss Annie F. Page, Hallowell. 


PRENTISS MELLEN 40 


Vice President of the Handel Society of Maine (1814). From a portrait by 
Joseph B. Kahill in the Federal Courthouse at Portland. By courtesy of the 
artist. 


EDWARD HOWE 43 


Founder and first President of the Beethoven Musical Society, Portland (1819). 
The first musical society in America to bear the name of the great composer. 


OLD PORTLAND ACADEMY 44 
First meeting place of the Beethoven Musical Society (1819). From an old 
woodcut. 


Xvi 


XVill LIST OF ILLUSTRATIONS 


OLD SECOND PARISH CHURCH ON MIDDLE STREET, PORTLAND 


Where the first concerts by the Beethoven Musical Society were given (1819), 


and where a complete standard oratorio was first sung in the State of Maine (1837). 
Pen and ink sketch made from an unfinished drawing by George A. Gwynn, a 
Portland architect (1858), who lived opposite this historic edifice. Original draw- 
ing loaned by William W. Mitchell. 


IRA BERRY 
Early music critic in Portland and charter member of the Beethoven Musical 
Society. Photo loaned by L. F. Jordan. 

SAMUEL FRANCIS SMITH 


Compiler of “The Juvenile Lyre” and author of “America.” For seven years a 
resident of Waterville where he was a professor at the college. From a photograph 
in the Colby College collection. 


EDWARD GOULD 


First President of the Portland Sacred Music Society (1836), the first choral asso- 


ciation in the State to sing a complete standard oratorio (“Creation,” April 24, 
1837). From a copy of a painting made by Joseph G. Cole in 1833. Photograph 
loaned by Major John M. Gould, Portland. 


ARTHUR L. ILSLEY AND MRS. E. D. BRANSCOMB (ESTHER ILSLEY) 


Who, at the ages of twenty-five and eighteen, respectively, sustamed the principal 
roles in the first presentation in the State of Maine of Haydn’s oratorio, “Creation.” 
From photographs by S. Wing, Boston, taken about forty years after this event. 


PROGRAM OF THE FIRST PERFORMANCE OF “THE MESSIAH” IN THE 
STATE OF MAINE 


Photographed from the original loaned by Rev. Vincent Silliman, D.D. 


“SUSAN WHITNEY (FOX) 


Who, at the age of twenty-three, sang the contralto solos on the occasion of the 
first performance of “The Messiah” in the State of Maine, and of whom a critic 
said, hers was “the best alto voice this side of St. Peter’s, Rome.” From a photo- 
graph made about 1870. 


F. NICHOLS CROUCH, F.RS. 


Composer of “Kathleen Mavourneen.” For some years a resident of Portland 
where he died in poverty (1896). Photo by Bachrach, Baltimore. 


CASCO TRIO, PORTLAND 
From a daguerreotype made by George M. Howe in 1845. 


WILLIAM M. REED 


Founder and first President of the Maine State Musical Association (1843) and 
first President of the Franklin County Musical Association. 


SOLON WILDER . 
Organizer of the first singing school in Bangor. 


WILLIAM H. MILLS 
First President of the Penobscot Musical Association (1848). From an old steel 
engraving loaned by Hon. Henry Lord of Bangor. 

GEORGE W. MERRILL 


One of the founders of the Penobscot Musical Association, and for eleven years a 
Vice President. 


45 


55 


67 


70 


72 


75 


76 


82 


86 


gl 


92 


93 


LIST OF ILLUSTRATIONS 


JOSEPH FORBES 


First vocal director of the Bangor Musical Association (1847) and a Vice Presi- 
dent of the Penobscot Musical Association. 


JOSEPH WOODMAN FAIRBANKS 


Chorister and leader of singing schools for many years in Farmington. 


FREDERIC HOBBS 
First President of the Bangor Musical Association (1847). Photo made by the 
Copley Print Co., Boston, from an old daguerreotype and loaned by Miss Mary J. 
Allen, Auburndale, Mass. 

LUTHER WHITING MASON 


pee eeely honored educator who introduced the eight tone scale into the 
Orient for which he was accorded signal honors by the Japanese people and their 
Mikado. Photo by Georg Brokosch, Leipzig. 
LUTHER ORLANDO EMERSON 
Composer and choral conductor. First musician of note known to have been born 
in the “State of Maine” (1820). Courtesy of Oliver Ditson Co., Boston, Mass. 
DR. ALBERT FISK STANLEY 
Teacher of singing schools in Winthrop in the forties. 


ELNATHAN DUREN 
Secretary of the Penobscot Musical Association throughout the thirty-six years of 
its existence (1848-1884). From a photograph made in his one hundredth year, 
after he had become blind. 

FRANCIS BLAKE 


First President of the Haydn Association of Portland (1857). From a miniature 
in a locket worn by his daughter, Cornelia Shaw Blake, and loaned by her. 
BIRTHPLACE OF JOHN KNOWLES PAINE 
Great American Composer (born in 1839, Portland, Maine). From a photograph 
made in 1925 under the personal direction of the author. 
JOHN KNOWLES PAINE 
At the time of his first public appearance as an organist (1857). From a daguer- 
reotype. 
JOHN KNOWLES PAINE 


At the time of his farewell organ recital in Portland (1858), before going aboard 
to study. From a pastel loaned by Mrs. John W. Bowers. 


PROGRAM OF THE FIRST PERFORMANCE OF PAINE’S ORATORIO 
“Sl. PETER” 
The first oratorio by an American composer to be performed in the country. 


THE OLD CITY HALL IN PORTLAND 
In which was sung, for the first time in the United States, an oratorio by an 
American composer (1873). From a photograph loaned by the City Clerk’s 
office, Portland. 

JOHN KNOWLES PAINE 
At the time of the production of his oratorio “St. Peter” (1873). 


SCENE FROM “OEDIPUS TYRANNUS” 


From “The Harvard Greek Play” 1881, by courtesy of the author, Right Hon. Sir 
Henry Norman, M.P., of London, England. 


xix 


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99 


102 


107 


109 


IIS 


118 


121 


123 


124 


125 


126 


127 


129 


XX LIST OF ILLUSTRATIONS 


OPENING BARS OF “A CHRISTMAS PIECE” 


From the original manuscript, by John Knowles Paine, written for and dedicated 
to his sister, Helen, who gave music lessons in Portland in order that her gifted 
brother might continue his studies in Germany. 


CLOSING BARS OF “A CHRISTMAS PIECE” 
With date and autograph of the composer. 


JOHN KNOWLES PAINE 


At the time he represented America at the unveiling of the Wagner Memorial at 
Berlin (1903). From a photograph by M. Adler, Karlsbad. 


BIRTHPLACE OF THE PORTLAND ROSSINI CLUB (1867) 


Oldest musical organization in America, whose membership is composed wholly of 
women. The spire and minarets at the right were those of the High Street Con- 
gregational Church in which concerts by the Portland Sacred Music Society were 
given as early as 1836. 


MRS. JOSIAH PIERCE (ISABELLA L. MILLETT) 


With whom the thought of organizing the Portland Rossini Club originated (1865). 
From a photograph made by Elliott and Fry, London, in 1878. 


MRS. WILLIAM HENRY DENNETT 
First President of the Portland Rossini Club (1869-1870). 


MRS. HARRIET N. WETHERBEE 


Second President of the Portland Rossini Club (1870-1891), and soloist on the 
occasion of the premiere of John Knowles Paine’s oratorio, “St. Peter,” in 1873. 


MRS. EMILY KELLEY RAND 


Third President of the Portland Rossini Club (1891-1917); Honorary President 
(1917-1920) and a member of the club for more than fifty years. 


JULIA EDWARDS NOYES 


President of the Portland Rossini Club since 1917, and of the Maine Federation 
of Music Clubs since 1926. 


THE NATIONAL PEACE JUBILEE (Bosron, 1869) 


In which more than two hundred Maine singers participated. From an old steel 
engraving by J. W. Watts. 


FLORA BARRY 


Famous oratorio contralto and one of the “Bouquet of Artists” at the Boston Peace 
Jubilee in 1869. From a portrait made in that year. 


A GROUP OF REPRESENTATIVE PORTLAND MUSICIANS IN 1870 
All of whom were members of the Kreutzer Club of Portland. 


THE CECILIA QUARTETTE OF PORTLAND 
From a photograph made in=1881. 


THE PLEASANT HILL ORCHESTRA OF FALMOUTH 
From a photograph made about 1885. 


AMATEUR OPERA IN PORTLAND IN THE EIGHTIES 
“Three Little Maids from School.” From “The Mikado.” 


THE AFTERNOON CHOIR OF THE SECOND PARISH CHURCH, PORTLAND 
From a photograph made in 1888. 


134 


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136 


140 


141 


143 


144 


145 


147 


152 


153 


155 


156 


160 


161 


163 


Boe t OF TOLUSTRATIONS 


HERMANN KOTZSCHMAR 


Conductor of the Haydn Association and for nearly fifty years organist at the 
First Parish Church, Portland. Photo by Lamson. 


GEORGE W. MARSTON 


Teacher, organist and composer of church music, whose anthems have been sung the 
world over. Photo by Chickering, Boston. 


WILLIAM HENRY DENNETT 


For many years considered the greatest vocal teacher in Maine. 


THOMAS E. GLYNN (“TOMMY GLYNN’) 
Acclaimed just before his death the world’s greatest banjoist. 


A. M. DUNHAM (“MELLIE DUNHAM”) 


Whose fiddling captured thousands of hearts while touring the Keith Circuit in 
the winter of 1925-1926. Photo by Jack Clifford, Lakewood, Ohio. 


FREDERIC S. DAVENPORT 


Early music teacher and conductor of the Handel Association of Bangor. From a 
photograph made in 1864. 


JOHN E. GODFREY 
First President of the Handel Association of Bangor (1873). 


WILLARD PATTON 


Whose oratorio “Isaiah” received more than sixty presentations. 


JOHN T. MERRILL 


Organizer and conductor of the Cumberland County Music Conventions. 


GROUP OF SINGERS 
Attending a Cumberland County Music Convention in Gray (1890). 


W. K. EMMINGER 


First conductor of the Lewiston Musical Association (1857). 


ALICE J. TUKESBURY 


One of the founders (1881) of the Cecilia Club of Lewiston; first President (1894) 
of the Clef Club and for more than fifty years an organist in that city. 


CHARLES W. SHANNON 


One of the founders of the Bangor Conservatory of Music and for more than sixty 
years an organist in Saco. 


ALICE TALBOT 


For many years leader in music in East Machias. From an early photograph. 


OLD WINTHROP CHOIR 
From a tintype loaned by Juliet Stanley Warren. 


SARAH DEARBORN CHANDLER 


Prominent Winthrop singer in the sixties. From an old tintype. 


CHOIR OF THE FIRST BAPTIST CHURCH, LIVERMORE FALLS 
From a photograph made in 1866 and loaned by Mrs. Ethel L. Allen. 


IRA STOCKBRIDGE 


Pioneer impressario, to whom Western Maine owes much for the foundation of 
its musical culture. 


XXxi 


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169 


173 


174 


175 


176 


177 


178 


185 


186 


187 


189 


192 


196 


197 


198 


199 


203 


XXil LIST OF ILLUSTRATIONS 


BIRTHPLACE OF ANNIE LOUISE CARY, WAYNE, MAINE 
From a photograph taken by the author in 1925. 


ANNIE LOUISE CARY 


At age of seventeen, when a teacher at the North Scarboro schoolhouse. 


ANNIE LOUISE CARY 
When she first went abroad to study (1866). Photo by Giulio Rossi, Milan. 


ANNIE LOUISE CARY 
On her return to America, after her London debut (1870). From a stereopticon. 


ANNIE LOUISE CARY 
As she appeared at the Cincinnati Festivals (1873). Photo by Rocher, Chicago. 


ANNIE LOUISE CARY 
At the time of her appearances in Russia (1874). Photo by C. H. Bergamasso, 
St. Petersbourg, Russia. 


ANNIE LOUISE CARY 
As Amneris in the opera “Aida” (1879). Photo by C. H. Bergamasso, St. 
Petersbourg, Russia. : 


ANNIE LOUISE CARY 
At the time of her last appearance in public (1880). Photo by H. Rocher, Chicago. 


WILLIAM ROGERS CHAPMAN AND EMMA FAULKNER CHAPMAN 
Photo by Devore, San Diego, Cal. 


EDWARD ALLING NOYES 


First President of the Western Maine Festival Chorus. Engraving by J. A. J. 
Wilcox, Boston, Mass. 


HON. F. O. BEAL 
First. President of the Eastern Maine Festival Chorus. 


BIRTHPLACE OF LILLIAN NORDICA 
Farmington, Me. 


LILLIAN NORDICA 


From an early portrait. 


LILLIAN NORDICA 


In costume worn at a fancy dress ball. Photo by Aimé Dupont. 


LILLIAN NORDICA AS ISOLDE 
Photo by Aimé Dupont. 


FRANKLIN HOLDING 


Who accompanied Lillian Nordica on her fatal world tour. Photo by Plummer, 
Lewiston, Me. 


EMMA EAMES 


At her home in Bath, Maine. Photo by Hubbard, Portland. Courtesy of the 
Portland Maine Publishing Company. 


SIDNEY FARRAR AND HIS DAUGHTER, GERALDINE FARRAR 


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208 


209 


212 


214 


215 


217 


221 


222 


223 


228 


231 


235 


238 


241 


245 


Diol, OF TLLUSTRATIONS 


CHARLES MARSHALL 
Dramatic tenor. Photo by Daguerre, Chicago. 


ANDREW JACKSON 
Song leader. The first to conduct an outdoor community sing in Portland. Photo 
by Adams Studio, Portiand. 


PORTLAND MEN’S SINGING CLUB 
Photo by Tisdale, Portland. 


ALFRED BRINKLER 
Conductor Portland Men’s Singing Club, 1928. Photo by Kennedy, Portland. 


LOUIS E. WHITE 
President of the Portland Men’s Singing Club, 1928. Photo by Bachrach, Port- 
land. 


PORTLAND POLYPHONIC SOCIETY 
Photo by Allen Hubbard. Courtesy Portland Maine Publishing Company. 


WOMEN’S CHORAL SOCIETY, PORTLAND 
Photo by Bicknell, Portland. 


RUPERT NEILY 


Founder and conductor of the Women’s Choral Society. Photo by Kennedy, 
Portland. 


CYRUS H. K. CURTIS 


Donor of the Kotschmar Memorial Organ, Portland. Courtesy of the Portland 
Maine Publishing Company. 


HENRY F. MERRILL 
Chairman of the Portland Music Commission, 1912-1922. Photo by Hanson, Port- 
land. 


JOHN T. FAGAN 
Chairman of the Portland Music Commission, 1922 and 1923. Photo by Mansur, 
Augusta. 


HERBERT W. BARNARD, JR. 


Member Portland Music Commission 1923-1929. Photo by Roger Paul Jordan, 
Portland. . 


WILLIAM S. LINNELL 
Chairman of the Portland Music Commission, 1923-1928. Photo by Hanson, 
Portland. 


DONALD M. PAYSON 
Member Portland Music Commission, 1922-1924 and 1928-1930. Photo by Roger 
Paul Jordan, Portland. 


WILL C. MACFARLANE 
First municipal organist of Portland. Photo by Kennedy, Portland. 


CHARLES RAYMOND CRONHAM 
Municipal organist of Portland, and conductor of the Portland Municipal Orchestra. 
Photo by Marshall, Portland. 


XXIli 
247 


250 


255 


256 


257 


258 


259 


260 


265 


266 


266 


267 


267 


268 


269 


270 


XXIV LIST OF ILLUSTRATIONS 


PORTLAND MUNICIPAL ORCHESTRA AND THE KOTZSCHMAR 
MEMORIAL ORGAN 


Photo by Marshall, Portland. 


MRS. GEORGE F. GOULD 
President of the MacDowell Club, Portland, 1928. Photo by Kennedy, Portland. 


MRS. CHARLES BEDLOW 


Founder and first President of the Marston Club, 1887. From a photograph made 
about thirty-five years later. 


CAROLINE FENNO CHASE 
President of the Cecilia Club of Augusta, 1928. Photo by Howard, Augusta. 


MRS. FRANK L. TUCK 


First President of the Schumann Club of Bangor (1898). Photo by Chalmers, 
Bangor. 


MRS. HARRIS N. DOE 
President of the Schumann Club of Bangor, 1928. 


BANGOR SYMPHONY ORCHESTRA 


ADELBERT WELLS SPRAGUE 


Conductor Bangor Symphony Orchestra, 1920-1928, and director Department of 
Music, University of Maine. 


MELVILLE H. ANDREWS 
Founder of the Bangor Symphony Orchestra. 


BRUNSWICK ORCHESTRAL SOCIETY 


MRS. BIRDENA POWERS PIERSON 
President of the Lyric Club of Caribou, 1928 


NELLIE LOUISE McCANN 


First President, Annie Louise Cary Club, Gorham, Maine, 1925-1928. Photo by 
Adams Studio, Portland. 


MARY E. BURPEE 
Founder and first President Houlton Music Club. 


MRS. CLEVELAND W. TOWERS 
Past President of the Houlton Music Club. 


HENRY F. ROY 
Founder and first President of Club Musical Litterarie, Lewiston-Auburn (1888). 


ELIZABETH LITCHFIELD 
First President of the Philharmonic Club, ieee. Photo by Hanson, Portland. 


MRS. HAROLD SANDS (ELIZABETH HAYNES) 


First President of the Clef Club of Presque Isle (1923). Photo by Chidnoff, 
New York. 


MRS. DORA JAMESON BIRD anp NETTIE EVELYN BIRD 
Founders of the Harmony Club of Rockland, 1906. Photo by Hanson, Rockland. 


MRS. JAMES A. McFAUL 
First President of the Maine Federation of Music Clubs. 


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275 


277 


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283 


284 


285 
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289 


290 


291 


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301 


307 


PE Cee Oe ee eee eS 


LIST OF ILLUSTRATIONS 
EMILY POOLE BAXTER 
Organist twenty-two years, Church of the Sacred Heart, Portland. 


DR. EDWARD HAMES WASS 


Head of the Music Department Bowdoin College, and founder and conductor of 
the Brunswick Choral Society. 


DANIEL H. CHANDLER 
Founder of Chandler’s Band, Portland. From a photograph in possession of the 
Maine Historical Society. 


CYRUS L. CURTIS 


Trombonist in the old Portland Band, and conductor of most of its rehearsals. 
From a photograph in possession of the Maine Historical Society. 


JONATHAN COLE 


Leader of the old Portland Band. From a photograph in possession of the Maine 
Historical Society. 


240TH COAST ARTILLERY MAINE NATIONAL GUARD BAND 
Photo by Allen Hubbard. Courtesy of Portland Maine Publishing Company. 


OFFICERS OF THE DIXFIELD BAND 
OLD AMERICAN BAND OF WESTBROOK 
HON. PERCIVAL P. BAXTER 

JENNIE KING BRAGDON 

PHOEBE CROSBY 

EDITH M. DAVIDSON 

ARTHUR HACKETT 


MAY KORB 
Photo by Apeda, New York. 


MAY KORB 
As Gretel in Humperdinck’s opera, “Hansel and Gretel.” Photo by Kennedy, 
Portland. 


CHARLES MARSHALL 


As Samson in Saent Sans’ opera, “Samson and Delilah.” 
HELOISE P. RENOUF 
C. WINFIELD RICHMOND 


MINNE SCALAR 
Photo by Pragnall, London. 


J. K. SPRINGALL 
MRS. JOHN HUPPER TURNER 
ELISE FELLOWS WHITE 
HELEN YORKE 


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477 


MUSIC 


Music! The art 
Of arts most beautiful! The one apart, 
Which speaks, in simple language, all its own, 
To every man of every tongue that’s known. 
Solace to the grief afflicted one, 
Hope to the helpless, it brings despair to none, 
But lifts the aspiring soul to lofty height, 
Or overcomes vast burdens in its might; 
And, like a draft, refreshing, from the spring. 
Who quaffs of it for very joy will sing, 
And, singing, will put forth his very best. 
Who drinks of it is doubly, yes, thrice blessed, 
In calmer years the comfort of sweet sound 
Will make the waiting days in peace abound 
When music finds a place, in any day, 
Then the unbeautiful will fly away. 
As youth to manhood grows, ’tis he, that’s young, 
Who, for a little, has to the four winds flung 
Repression, and, like children, catching truth, 
As children, expressing the pent-up joy of youth 
In dancing, so, with gladness, unrepressed, 
In music is his soul made manifest. 
Ah, *tis a happy day for any land 
When music and the dance go hand in hand! 


yr 


MUSIC AND MUSICIANS OF MAINE 


ol OMPOXER BMG 


Music oF THE INpIANsS oF MAINE 


All moves to music. The vibrating stars 
Traverse the heavens, their song and light are one 
Amid the darkling skies. 
Tides of the sea in cadence fall and rise, 
Whose voice 1s thunder against the clif that bars 
Their way forevermore; 
Or the soft monotone 
Of murmuring refluent waters on the shore. 
The woodlands tune their windharps to the cry 
Of the great blasts tumultous of the sky; 
The sevenfold color of the rainbow sings 
Answering the sevenfold gamut of the strings 
Of viol and lute. 
— Elizabeth Jones Pullen. 


F the first music that was heard, 

in that part of America which is 

covered by the area now known as the 
State of Maine, no man can tell. 

The first peoples who inhabited it, of 
whom the white man has cognizance, 
were the North American Indians. Such 
knowledge of music by this race of 
people, which is believed by ethnolo- 
gists to have lived in North America for 
more than twenty-five thousand years, 
is only that which has been remembered 
by the descendants of these, and passed 
along from throat to throat in song and 
ritual to each succeeding generation. 

None can tell how far, into the re- 
mote fastnesses of the past, he would 
have to go in order to learn of the man- 
ner of the discovery of the science of 
combining tones in rhythmic order by 
this ancient race. If, as some scientists 
claim, America was the first continent 
to be formed on the sphere which is 
known to us as the earth, then her orig- 
inal singers may antedate all others. 

It is known that paleolithic man made 
crude attempts at fashioning musical 
instruments from the horns of the rein- 


deer and it is believed that his first en- 
deavors at melody were the result of his 
efforts to imitate the singing of the birds. 

Dancing has been said to be the 
mother of instrumental music, and it is 
probable that the diverse and numerous 
dances of the Indians were earliest ac- 
companied only by instruments of per- 
cussion. 

Music has ever been a compelling 
factor in the life of the North American 
Indian. Every detail of his daily life 
has its complement in some form of 
music. There is no race or people in 
either hemisphere whose every thought 
and action oftener finds its interpreta- 
tion in music than the North American 
Indian. 

One of the most powerful tribes, 
called by the French, Abnakis, by the 
English, ‘Tarranteens, and by the peo- 
ple of New York, Owenagungas, was 
located in the area lying between the 
Piscataqua and the St. John’s Rivers. 
The name, which is spelt also Abenaki, 
Abenaques, Wapanachki, and Wabena- 
kies, is derived from the Indian word 
wanbanban, designating the people of 
the Aurora Borealis, the place where 
the sky soonest appears white at the 
breaking of the day, thus the reference 
to them as “The Children of the Dawn 
Country.” 

The Abnakis came of such an old 
race, according toan early cosmogonist, 
that they have never acknowledged any 
ancestral tribe, and an Abnakis mis- 
sionary is authority for the statement 
that they claimed to have been created 
where they were by the Great Spirit, 
who, having produced a masterpiece in 


2 MUSIC AND MUSICIANS OF MAINE 


' Very rhythmically 


hej 6a Hohe 2 ea. né 


eee 7 7 
SURG ERG A DEARMOND WAAL IRIEL PICATINNY FRUSAMERITSSY 
—_ a se IFAS > AERATED 


ne-Ga. he- Ge ye’ Ree eS | 


He- ca 


A PENOBSCOT SONG OF GREETING — WORDS AND MUSIC FROM “THE INDIANS BOOK, BY NATALIE CURTIS. 


’ COPYRIGHT, 1907, BY NATALIE CURTIS. 


them, was so well satisfied that he made 
all others with less care. 

These, then, may be said to have 
been the original musicians of Maine. 

At the time Maine was first settled 
by the white man the Indian’s music 
had been developed to an interesting 
degree, for woven between the monot- 
onous beats of the tom-tom, if one knew 
how to listen for them, were weird and 
sometimes lovely melodies of unusual 
tempo, which were so hard, even for the 
musically cultivated ear to grasp, that 
many of them remained undiscovered 
for nearly two centuries after the Euro- 
peans first settled in America. 

The Indian’s religion found its every 
expression in music. His conception of 
the beginning of the world was that the 
Creator sang the plants, the animals 
and even the stars into life and being. 

Melody and rhythm he modelled 
from the songs of the birds of the air, 
the running brooks, the pounding waves 
on the beach, the crickets in the field, 
and the frogs in the lowlands. Of har- 
mony, he was content to listen for it in 
nature, and, as he sang, the soughing 
of the wind as it blew through the nee- 
dles topping the pine trees of the forest, 
or whistled through the bending grasses 
of the prairie, the sighing of the sea, 
and the humming of the bees and other 
insects formed a harmonic setting to 
his complete satisfaction. 

Of musical instruments, the Ameri- 
can Indians, as early as 1600, were fa- 
miliar with the use of the drum, flute, 
pan-pipe and “music-bow.” 


COPYRIGHT, 1923, BY PAUL BURLIN. BY PERMISSION. 


It is not unlikely that the barter song 
of the Penobscot Indians had its origin 
in the nith song of the Eskimos, who 
were the Northern neighbors of this 
Maine tribe. | 

The nith song, as may be known, was 
sung in settlement of an argument, by 
two who had disagreed. Instead of 
fighting it out, the disputants literally 
sang it out in the presence of the whole 
village. Thus were controversies settled 
by public judgment of competitive sing- 
ing based wholly on the comparative 
merits of the songs of those concerned. 
The one who excelled in sarcasm at the 
expense of his opponent was declared 
the winner. 

The Penobscot Barter Song held a 
unique place in the social life of these 
people. It was used in their “game of 
barter” in which two companies were 
chosen from two separate wigwams. 
From each of these one was chosen to 
represent them in the game and he was 
dressed in the costume of a nolmihigan 
or clown. Having first selected some 
article of very little value, one nolmi- 
higan would conduct his company to 
the wigwam of the other, and, praising 
his almost valueless offering in song, he 
would ask what they had to offer for it 
in exchange. By numberless sallies of 
wit, all sung to the tune of the barter 
song, he would work the opposite com- 
pany up to such a state of excitement, 
and put them in such excellent humor, 
that he would likely receive in exchange 
something many times its worth—per- 
haps a valuable seal skin or even a ca- 


MUSIC OF THE INDIANS OF MAINE 


noe for an old wooden spoon. Then the 
return visit would be made and the op- 
posing nolmihigan would have his turn 
at bartering. The company whose nol- 
mihigan proved himself the most effec- 
tive singer, and the wittiest at bartering, 
would, of course, be the eventual winner. 

The N’skawewintuagunul, or Song of 
Greeting, was sung by the Abnakis 
when their tribes visited one another in 
this manner: On landing from his ca- 
noe, the visitor, accompanied by his fol- 
lowers, slowly approached the sagam 
or chief who had gone with his people 
to the shore to meet him, while the 
Stranger offered his salutation. The 
N’skawewintuagunul was sung, during 
the rendering of which the singer’s 
steps kept time with the rhythm. All 
the people who had followed their sa- 
gam to the shore sang, “hega, hega.” 


_As the stranger drew close to the sa- 


gam, he held out his hand and said, 
roughly translated, “I greet you, sa- 
gam of the Passamaquoddy.” After ex- 
tending a similar greeting to the Meh- 
chichikel or Lieutenant Chief and his 
half dozen s’moganis or warriors, the 
sagam of the Passamaquoddy tribe in 
his turn performed the same ceremony 
while singing the same song of greeting 


to his visitors, after which all the peo- 


ple went up from the shore together 
and indulged in a great feast. 

The monosyllables used by the Pe- 
nobscot Indians in their war dance 
song, “Kwa nu kwanu de he no, Kwa 
nu de kwa nu de He no,” are said to 
have been as devoid of translatable 
meaning as those in Graun’s system of 
damenization used by modern singers 


in their vocal gymnastics; but, when 
_ sung by the early Penobscots, were 


fraught with significance and were, in 
_ effect, an invitation to the dance. 


The farewell songs, of which the Ab- 


nakis had many, were called by them 
the “songs of loneliness.” These are 


“THE NORSEMEN,” FROM WHOSE SHIPS MAY HAVE 
BEEN HEARD THE FIRST WHITE MAN’S SONG TO BE 
WAFTED ACROSS MAINE WATERS. FROM A STEEL 
ENGRAVING BY J. ANDREWS AND J.DUTHIE (1850), 
MADE FROM A DRAWING BY H. BILLINGS. 


among the most beautiful, as well as 
the most plaintive and tender, of all 
Indian songs. 

The Penobscot War Song, Dance 
Song and Medicine Song, the Penob- 
scot and Passamaquoddy Songs of 
Greeting and Maliseet and Passama- 
quoddy Dance Songs are among those 
that have been sung over and over by 
succeeding generations of Maine In- 
dians through centuries of time and are 
to this day remembered and sung by 
some of the native Indians at Eastport, 
Lincoln and Oldtown, Maine. 

Among the Maine Indians, who, dur- 
ing their lifetime, were instrumental in 
passing along the songs of their fore- 
fathers to those who were able to write 
them down were Bedaji, Big Thunder 
of Oldtown, Maine; Joseph Nicolar of 
the Penobscot Tribe; Asa Whis (John 
Salis) of Eastport, Maine, and Blams- 
we-Zozep Tene (Francis Joseph Dana), 
who remembered the Penobscot Medi- 
cine Song as sung by his grandfather. 


4 MUSIC AND MUSICIANS OF MAINE 


The first white man’s song to be 
heard in Maine waters may have been 
a folk song of a hardy Norseman, as 
Leif, son of Eric the Red, sailed along 
the coast from Greenland to Vinland, 
in the tenth century; or it may have 
been that of a drinking song, from some 
of the piratical crew of the expedition 
under the ferocious Viking, Gumbijorn, 
on one of his excursions of devastation, 
while trying to discover the “newland.” 

But whether it was one of these, or a 
song of love and passion from an ar- 
dent amoretto on the Italian expedi- 
tion of the Zeno brothers, four hundred 
years later; or a cheering chanty or a 
Venetian boatman’s song from one of 
the motley crew of John Cabot’s ship 
as he coasted the Atlantic in 1497; or 
yet, the songs of other explorers who 
followed, or even preceded them, will 
always remain a matter for conjecture. 

Sixteen years before the Pilgrims 
landed at Plymouth Rock, Midnight 
Mass was celebrated (July, 1604) and 
chants were sung on Holy Cross Island 
in the St. Croix River by Rev. Nicholas 
Aubry of Paris, France. This was the 
first known celebration of the Mass in 
New England. Sieur De Monts, who 
had been granted an exclusive patent 
by Henry IV of France to colonize 
Acadie, explored the coast of Nova 
Scotia in May, 1604. After entering 
the Bay of Fundy he reached the 
mouth of a large river on the 24th of 
June and, this being the feast of St. 
John the Baptist, he named the river 
“St. John,” by which name it has since 
been known. Continuing his voyage 
westward, he entered a large bay (Pas- 
samaquoddy) and proceeded up one of 
its tributaries (St. Croix) to an island 
which he called Saint Croix or Holy 
Cross. (Doucet’s Island). 

The expedition of Sieur De Monts 
consisted of one hundred and twenty 
men, among whom were laborers, ar- 


tisans, perhaps a Huguenot, a clergy- 
man and one Catholic priest. Accom- 
panying him was the already famous — 
navigator, Samuel De Champlain, and 
together they wintered on the island. 
Before relinquishing his claim to 
Acadie to sail for more promising fields, 
De Monts petitioned his sovereign to 
send missionaries to the Indians of the 
province. Accordingly, in 1611, two 
French Jesuits arrived at Port Royal, 
Nova Scotia. One of them, Rev. Peter 
Biard, made many trips to the Maine 
Coast. In 1613 he accompanied a col- 
ony from France and, landing on the 
eastern shore of Mount Desert Island, 
planted a cross, celebrated Mass and 
called the place Saint Sauveur. The 
French were persuaded by the Indians 
to adopt a site of their selection, which 
was on a beautiful hillside sloping to 


the sea, and here temporary dwellings _ 


were erected by them near the shore. 
Of this colony, Bancroft, in his His- 
tory of the United States, says: “The 
conversion of the heathen was the mo- 
tive of the settlement; the natives ven- — 
erated Father Biard as a messenger 
from Heaven; and under the summer 
sky around a cross in the center of the 
hamlet, Matins and Vespers were reg- 


‘ularly chanted.” 


Music is and always has been the 
language that is most immediately and 
most universally understood. There is 
no mystery in its message to bewilder 
or perplex. In its simpler forms it is 
comprehended as easily by the ignorant 
as by the erudite, by the savage as by 
the civilized. It is in the hearts of all 
the people of the world and most easily 
finds expression in song. The deeply 
religious import of the chants of the 
early Catholic missionaries to Maine 
found a ready response in the hearts of — 
the natives who adopted the religion of — 
their tutors with simple and unques- | 
tioning faith. 


Maolt OF THE: INDIANS OF MAINE 5 
SCY 


The French missionaries were well 
versed in the art of plain song, which 
had reached its highest perfection in 
the thirteenth century. As the Apostles 
accepted all people with their customs, 
so these “black robes” adopted the Ab- 
nakis circle, and taught them to love 
and reverence the pure and ennobling 
music of the Divine office and of the 
Mass. 

Whether Father Biard or Josue Fles- 
che, a secular priest, who preceded 
him, or Father Gabrielle Druillettes, 
who came later, was the first to teach 
the chants to the untutored Indians in 
Maine is a question that may be open 
to debate. 

Jesuit and Franciscan missionaries 
found their way to Indian settlements 
at Pentagoet (now Castine), Narant- 
souac (now Norridgewock), Penawa- 
miska (now Oldtown), Pleasant Point 
and Dana Point. They also ministered 
to French fishermen and other early 
settlers scattered along the Maine coast, 
who, though few in winter, increased 
in summer to thousands. Their labors 
left an impress on the music and liter- 
ature of New England, and like Long- 
fellow’s Father Felician, in that alto- 
gether charming picture of Catholic 
church and home life, as depicted in 
Evangeline, each was, 

“Priest and pedagogue, both,” and 

“taught them their letters .. . 
with the hymns of the church and 
the plain-song.” 

It is a matter of record that Father 
Gabriel Druillettes was one who taught 
singing to the Indians. He came to 
Canada in 1643, and within a year he 
Was sent out on the winter hunt with 
the Algonquin Indians. It is related of 
him and his Indians that at every stop- 
ping place a chapel was built where 
Mass was sung and morning prayers 
were said, and, whenever they shifted 
quarters, that a great cross, around 


which they knelt to say their prayers 
and sing some simple hymn, was 
erected. 

In 1646 two sagamores having ap- 

plied to the church at Quebec for mis- 
sionaries, Father Druillettes was trans- 
ferred to the Abnakis, in Maine, and 
Father Jogues to the Iroquois. 
_ Father Druillettes set out in a canoe 
in August of that year for his new mis- 
sion which was to be known as the 
Mission of the Assumption, and which 
was located about a league above Cou- 
sinoc (the old Indian name for Augus- 
ta). The greater part of his journey 
led him over roads of which he wrote 
that they “seemed to lead to hell but in 
reality make for Heaven.” He was the 
first white man ever to make this jour- 
ney. 

On his arrival, the savages came 
from far and near to see and visit him. 
At Cousinoc, he met the agent, Ed- 
ward Winslow, who became his lifelong 
friend. He journeyed as far as the Pe- 
nobscot where he found a small con- 
vent of Capuchin Friars, who, as early 
as 1632, had established a mission in 
Acadie, which then included Hancock 
County in Maine. Early in the follow- 
ing summer he returned to Quebec ac- 
companied by thirty braves who acted 
as a voluntary escort. 

As the Capuchins at that time 
claimed priority over the entire District 
of Maine, the Jesuits in 1648 resolved 
to abandon the Mission, but both Ca- 
puchins and Indians asked for the re- 
turn of Father Druillettes. 

Father Druillettes was born in France 
in 1610 and died in Quebec in 168r. 
He was sent as an envoy of the govern- 
ment to negotiate a treaty with the 
Puritans of New England at Boston, 
for mutual protection, commercially, as 
well as against the Iroquois, and was 
appointed French Commissioner to at- 
tend a meeting of the representatives 


6 MUSIC AND MUSICIANS OF MAINE 


of the English Colonists at New Ha- 
ven. His knowledge of the languages 
of the Indians was remarkable, and 
Marquette is known to have studied 
the languages of the numerous tribes 
with him before beginning his journey 
of discovery of the West. 

Father Druillettes was called “the 
Patriarch” by his Abnakis. He was a 
scholarly man, venerated by the French, 
respected by the English, and revered 
by his Indians. His name, with that of 
other dignitaries of Church and State, 
is inscribed on the monument which 
commemorates the official appropria- 
tion of the Northwest Territory, and 
which was erected by the delegate of 
Louis XIV, near the falls of Sault Ste. 
Marie, on the northwesterly boundary 
of the State of Michigan in 1671. 

Perhaps none of the Catholic fathers 
did more to excite and hold the interest 
of the Indians of Maine in the music 
of the chants than did Father Sebas- 
tian Rale, who was born in 1657 or 
1658 in Portalier in the Province of 
Franche-Compte. At the age of thirty- 
two he was sent to North America to 
receive the charge of a mission to the 
Indians connected with the French pos- 
sessions. He embarked from La Ro- 
chelle, for Quebec, July 23, 1689. 

The mission to which he was as- 
signed at Norridgewock was one that 
had been established by Father Druil- 
lettes in 1646. 

After five months of painstaking 
study among the Indians he mastered 
the difficulties of the Indian language 
sufficiently to translate the Masses and 
Chants into their native tongue. 

In or about 1693 Father Rale formed 
a choir of forty young Indians at Nor- 
ridgewock and provided them with cas- 
socks and surplices to assist at services 
and to chant hymns for processions in 
which great numbers of Indians, many 
of whom came from long distances, par- 


ticipated. This is believed to have been 
the first attempt to organize a choir or 
teach choral singing on Maine soil. 

Whittier’s descriptive picture of Fa- 
ther Rale and his Indians at Norridge- 
wock, in his poem “Mogg Megone,” is 
familiar to Maine people: 


On the brow of a hill, which slopes to meet 
The flowing river, and bathe its feet,— 

The bare-washed rock, and the drooping grass, 
And the creeping vine, as the waters pass,— 
A rude and unshapely chapel stands, 

Built up in that wild by unskilled hands, 
Yet the traveller knows it a place of prayer, 
For the holy sign of the cross is there:’ 

And should he chance at that place to be, 

Of a Sabbath morn, or some hallowed day, 
When prayers are made and masses are said, 
Some for the living and some for the dead, 
Well might that traveller start to see 

The tall dark forms, that take their way 
From the birch canoe, on the river-shore, 
And the forest paths, to that chapel door; 
And marvel to mark the naked knees 

And the dusky foreheads bending there, 
While, in coarse white vesture, over these 

In blessing or in prayer, 

Stretching abroad his thin pale hands, 
Like a shrouded ghost, the Jesuit stands. 


Writing to his nephew, Father Rale 
said, “None of my neophytes fail to re- 
pair twice a day to the church, early in 
the morning to hear Mass, and in the 
evening to assist at the prayers which 
I offer up at sunset. As it is necessary 
to fix the imagination of the Indians, I 
have composed some appropriate pray- 
ers for them to chant during Mass.” 

The performance of the chanting for 
the Masses, by the little band of Abna- 
kis Indians who formed Father Rale’s 
aboriginal choir, lent both dignity and 
charm to the simple service conducted 
by the ardent Jesuit in the wilder- 
ness of Maine. Three years before the 
arrival of Father Rale, Frontenac had 
made his bloody raid on Schenectady, 
Salmon Falls and Casco, and, in con- 
sequence, a counter invasion of Canada 
had been attempted by the English. 


MUSIC OF THE INDIANS OF MAINE 7 


Summoned by Governor Dudley in 
1703, the Indians met at Casco for a 
conference, at which Father Rale was 
present. 

More than twenty years later, be- 
cause of opposition to his religious faith 
and the erroneous belief that he had 
incited the Abnakis to attack the Eng- 
lish settlers, the Government of Massa- 
chusetts offered a reward of one hun- 
dred pounds sterling for his head. 

On August 23, 1724, a party of two 
hundred or more men, accompanied by 
three Mohawk Indians, under com- 
mand of Captain Harmon of Kenne- 
bunk, fell upon the Norridgewock set- 
tlement and massacred eight of the In- 
dians, together with their beloved 
teacher, as he took his place at the foot 
of the cross in the center of the village. 

Beneath the spot, where once stood 
the little church, lies buried his body, 


placed there with tender hands by the ' 


Indians who loved him so well, and to 
whom he had been counsellor, minister, 
comrade and friend. His death was one 
of the most tragic and lamentable cir- 
cumstances of the early settlements in 
America. Father Rale was a skilful 
worker in wood, and carved the many 
ornaments which adorned his primi- 
tive chapel. Before his death he com- 
piled a French-Indian Dictionary which 
contained nearly seven thousand five 
hundred words, the original manuscript 
of which is now in the library at Har- 
vard. 

Charlevoix in his History of New 
France says, “Three years before his 
death, on his superior suggesting that it 
was time for him to withdraw from the 
fury of England who had sworn to de- 
stroy him, he replied that his ‘measures 
were taken.’ ‘God has confided his flock 
to me,’ he said, ‘I will follow its lot, 
too happy to lay down my life for it.’” 

Abbott in his history of Maine de- 
clares, “Sebastian Rale was a gentle- 


FATHER RALE (WHO FORMED A CHOIR OF FORTY 
YOUNG ABNAKIS INDIANS IN 1693), IN HIS CHAP- 
EL AT NORRIDGEWOCK, MAINE. FROM A STEEL EN- 
GRAVING BY D. L. GLOVER (1850), MADE FROM A 
DRAWING BY H. BILLINGS. 


man by birth, education and culture. 
Religious zeal incited him to leave the 
endearments of a home of opulence and 
congenial companionship and to spend 
thirty-five years in the then unbroken 
wilderness of Maine. His remarkable 
character deserves more particular no- 
tice.” 

The small bell which, with its musi- 
cal tongue, for years had called the con- 
verted Indians to early morning Mass 
and announced the evening Vesper 
hour, is now preserved in the collection 
of the Maine Historical Society in 
Portland. 

On the left shore of the Kennebec 
River, near Norridgewock, stands a 
granite monument to mark the site of 
this ill-fated Indian village, and per- 
petuate its memory and that of the 
early Maine instructor of music who 
gave his life for the cause which he so 
faithfully espoused. 

There is an unverified story, often re- 


8 MUSIC AND MUSICIANS OF MAINE 


peated, that Bishop Cheverus, on the oc- 
casion of his first visit to Maine, about 
the beginning of the nineteenth century, 
while on his way to a settlement of the 
Abnakis Indians, suddenly heard the 
sound of beautiful music, which seemed 
almost Heavenly in the blending of sweet 
voices. Believing that he was alone, it 
at first seemed to him to be like a visi- 
tation from Heaven, but, approaching 
the spot from which the sounds seemed 
to come, he found gathered there a 
group of Indians who were singing the 
same chants that had been taught their 
fathers and grandfathers, more than 
one hundred years before, by their be- 
loved teacher, Father Rale. 

The early attempts at colonization 
by the French were finally broken up 
by the English, and the French people 
who had settled in the territories ad- 
joining Passamaquoddy Bay and the 
Penobscot and St. Croix Rivers were 
driven northward into Canada, so it 
becomes necessary, in tracing the de- 
velopment of music in Maine, to begin 
with the music of the first English set- 
tlers rather than with that of the earlier 
French emigrants. 

It is more than likely that the first 
music performed at any settlement 
made by Englishmen in America issued 
forth as a song of praise and thanks- 
giving from the throats of the little 
group of colonists who came over with 
George Popham and Raleigh Gilbert in 
the “Mary and John” and the “Gift of 
God” on August 12, 1607, when they 


made a safe landing at Sagadahoc, 
Maine, though their first songs may 
have been heard several days earlier, 
when they went ashore on St. George’s 
Island. 

The old log book of the “Mary and 
John” reads:— “Sondaye being the 
gth of Auguste (1607) in the morninge 
the most pt of our holl company of 
both our shipes Landed on this Illand 
the wch we call St. Georges Illand 
whear the Crosse standeth and thear 
we heard a sermon delyvred unto us 
by our preacher gyvinge god thanks 
for our happy metinge and saffe ary- 
vall into the contry & So retorned 
abord aggain.” 

Wherever among the colonists there 
was a church, there was psalm singing, 
and the old log book records that:— 
“After Capt. Davies’ departure they 
full finished the trencht and fortefied 
yt with twelve pieces of ordinannce 
and built fifty houses therein besides 
a church and store house.” 

Had these colonists been possessed 
of sufficient fortitude to withstand the 
insufferable hardships which they un- 
derwent and the vicissitudes of climate 
and manner of living to which they 
were subjected, Jamestown, Virginia, 
could not then have laid claim to its 
having been the first permanent Eng- 
lish settlement in the New World, 
but instead, it could then have been 
said that the music sung in the first 
permanent English settlement in Amer- 
ica was at Sagadahoc, Maine. 


Wie Tire R aT 


Tue Music or THE Province or MAINE 


CotontaL Days 1640 To 1775 


Down [teers the Bass with grave majeftick air 
And up the Treble mounts with fhrill career; 
With fofter founds in mild melodious ways 
Warbling between, the Tenor gently plays; 
But if the afpiring ALTUS join its force, 
See! like the lark it wings its towering courfe 
Then rolls the rapture thro the air around 
In the full majick melody of found. 

— From The Harmony of Maine. 


4 Be one who is gifted with sufficient 
imagination to picture the early 
colonists, gathered shivering in groups 
in unheated meeting houses, enduring 
hardships, cold, fatigue, exposure, fam- 
ine, and in constant danger of attack 
from the Indians, or to see them under 
happier circumstances singing in the 
open, under summer skies, or in groups, 
as they went to and from their meet- 
ing houses, the story of their struggles 
to establish good music along with their 
religion in the Colonies is more en- 
trancing than many a tale of fiction. 
The first Colonists were not, as some 
have been led to believe, a harum-scar- 
um lot of soldiers of fortune in quest 
of excitement and adventure; but they 
were, for the most part, an educated 
people drawn from the best elements of 
the English nation, with high standards 
in art, as well as in morals. They were 
largely landed proprietors, merchants 
(or traders as they were then generally 
known), many of whom were gradu- 
ates of colleges and universities. They 
came to their new country to escape the 
prescribed forms of worship imposed 
upon them in the old homeland, and 
to establish new colonies where they 
could enjoy their devotions in their 
own way. They werea deeply religious 
people, and had their own notions in 


regard to the uses to which music 
should be put; and, believing that mu- 
sic should be used only for the glory 
of God, they eschewed it in all forms 
except that found in the “Book of 
Psalmes.” 

Some of the first Colonists arriving 
from England had brought with them 
a book of tunes, the title of which was 
Ainsworth’s Version of the Psalmes. 
Here in the wilderness they hungered 
for and cultivated music, and while their 
performance may have been lacking in 
musicianly rendition, their songs of 
praise were sung with that gravity and 
seriousness of purpose to which all 
things religious are entitled. 

They continued to use Ainsworth’s 
Version until about 1640, when The 
Bay Psalme Book, which had been 
composed and compiled by about thirty 
ministers, all university men, most of 
whom had received their degrees at Ox- 
ford and who had come to New Eng- 
land as early as 1636, was published. 

The Bay Psalme Book had the im- 
mediate sanction of the church, but, 
like nearly every other good thing that 
has come into being since the world be- 
gan, it had its opponents without num- 
ber. 

Perhaps the greatest obstacle to the 
progress of music among the Colonists 
was the general belief that “Christians 
should not sing at all but only praise 
God with the heart.” There were al- 
most aS many opinions on the matter 
of singing as there were adults in the 
Colonies. Some “thought it proper to 
sing, but that it was wicked to sing the 
‘Psalms of David’”; some, “that while 
it was not right for Christians to sing, 


10 MUSIC AND MUSICIANS OF MAINE 


others who were not of the faith should 
be allowed to do so”; others thought 
“that the psalms should be sung by a 
leader alone and that the people as- 
sembled should listen.” Those who up- 
held the first belief contended that by 
the word “singing” in the Scripture, 
nothing more was meant “than thank- 
fulness and joy of heart.” Then there 
were those who held that the men 
should be allowed to sing, but not the 
women. 

As an answer to this controversy 
that bid fair to upset the equanimity 
of the Colonists throughout New Eng- 
land, the Rev. John Cotton, in 1640, 
published a tract in which he stated 
that, “Singing of Psalmes with a lively 
voyce is an holy duty of God’s worship 
now in the dayes of the New Testa- 
ment”; and that, “not only the psalmes 
of David, but any other spiritual songs 
recorded in Scriptures may be sung in 
the churches.” As to whether women 
should sing, he said, “all should sing, 
with liberty for one to sing a psalm 
written by himself, after which the 
church should respond, ‘Amen.’ ” 

Other contentions, political and re- 
ligious, arose in the Colonies. 

There was almost constant trouble 
with the Indians and the people were 
subject to such exacting demands upon 
their time, because of the necessity of 
fighting for mere existence, that the 
cultivation of music became neglected. 
Through the indifference of their elders, 
children were allowed to grow up with- 
out learning how to sing the simplest 
tunes by note. By 1680 there were few 
music books among the several com- 
munities of Colonists and these were so 
widely different that congregations were 
rarely able to find more than two or 
three tunes alike in all of them and 
these were sung and re-sung at the ex- 


pense of learning others. With the pass- 
ing of the ability of the Colonists to 
read music, the singing was done most- 
ly from memory, and the melodies soon 
became sadly corrupted. One early au- 
thority wrote, “Every melody was tor- 
tured and twisted until it sounded like 
five hundred different tunes roared out 
at the same time” and it is said that as 
little attention was paid to the time 
and rhythm as to the air. 

Referring to the low plane to which 
music in the Colonies had fallen, Mr. 
Walters, in the introduction to his sing- 
ing book published in 1721, wrote of 
the tunes found in the old Psalm Books, 
‘which when they first came out of the 
hands of the composers of them were 
sung according to the rules of the scale 
of music but are now miserably twisted 
and tortured and quavered in some 
churches into a horrid medly of con- 
fused and disorderly noises.” Continu- 
ing, he says, “Our tunes are, for want 
of a standard, left tothe mercy of every 
unskilful throat to chop and alter, twist 
and change according to their fancies. 
I have observed in many places one 
man upon one note, while another is 
on the note before him which produces 
something so hideous and disorderly as 
is beyond expression bad.” 

In some churches the tunes were 
drawled out to such an extent that most 
of those participating were sometimes 
obliged to pause twice on one note in 
order to take breath. The psalms were 
sung as they were arranged in the book 
without thought as to the text of the 
sermon, and each was religiously gone 
through with from start to finish, re- 
gardless of its length, while the people 
stood with bared heads, though the ma- 
jority of them could not read a note or 
distinguish a syllable that was sung. 

One can imagine the devotion of 


MiuelC OF THE PROVINCE OF MAINE II 


these musically benighted people who 
endured such an ordeal for the sake of 
their religious belief, when it is known 
that the longest of the psalms occupied 
a full half hour in the singing. The 
knowledge of music, in the Province of 
Maine, at this time, had declined to 
such an extent, it was said, that the 
very discord and confusion was grate- 
ful to the ears of most of them, and a 
melody sung in time and in tune was 
really offensive. 

In his desire to encourage the study 
of music and the practice of reading by 
sight, Mr. Walters dwelt for some space 
on the subject of the art of singing by 
note. He said in part: 

“Singing is reducible to the rules of 
art; and he who makes himself master 
of a few of those rules is able at first 
sight to sing hundreds of new tunes, 
which he never saw or heard before, 
and this by the bare inspection of the 
notes, without hearing them from the 
mouth of a singer just as a person who 
has learnt all the rules of reading is 
able to read any new book, without 
any further help or instruction. This is 
a truth, although known to and proved 
by many of us, yet very hardly to be 
received, and credited in the country.” 

Walters’ Singing Book had the dis- 
tinction of being the fourth singing 
book published in the colonies and the 
first to be printed with bars in America. 

On its title page was this ingenuous 
phrase: —“Walter’s Singing Book, — 
the Grounds and Rules of Musick ex- 
plained—or an Introduction to the Art 
of Singing by Note— Fitted to the 
meanest capacities.” 

In 1720 the Reformation in Music in 
America really began and the first di- 
rect effort to improve church music 
was undertaken. 

In this year the Rev. Thomas 
Symmes, an exponent of the study of 


harmony, delivered a lecture in many 
of the towns in Massachusetts on the 
art of singing; there was a series of 
revivals in the churches; societies for 
promoting regular singing were formed 
in different parts of New England and 
lectures on music were given before 
these organizations. The reform had 
the support of the ablest men in the 
Colonies, including those famous di- 
vines, John Cotton, Thomas Symmes, 
Thomas Price, John and Samuel Dan- 
forth, Cotton Mather, and others, but, 
as in the case of the introduction of the 
Bay Psalme Book eighty years earlier, 
the objectors were many. 

Most of the people at this time had 
become firmly convinced that music 
could not be learned so as to sing a 
new tune without first hearing it. 

Some of the objections against sing- 
ing by note were: “that it was a new 
way;’ “that it was an unknown 
tongue;” “that it was not so melodious 
as the usual way;” “that there were so 
many tunes they could never learn 
them;” “that the new way made dis- 
turbance in the churches;” “that it ex- 
asperated good men and caused them 
to become disorderly;” “that it would 
introduce instruments;” “that the old 
way was good enough;” “that it re- 
quired too much time to learn;” “that 
it made the young disorderly and kept 
them from proper influence of the fam- 
ily;” and “that it was just a contriv- 
ance to get money.” 

So great was the opposition to this 
praiseworthy movement that in some 
instances church folk were temporarily 
ex-communicated for persisting in their 
right to sing by note. 

A curious questionnaire was sent out 
to the prominent folk in some of the 
churches at this time and among the 
interrogations were these: 

“Whether you do believe that the 


12 MUSIC AND MUSICIANS OF MAINE 


singing in the worship of God ought to 
be done skilfully?” ‘Whether you do 
believe that skilfulness in singing may 
ordinarily be gained in the use of out- 
ward means by the blessing of God:” 
and “Is it possible for Fathers of Forty 
years old and upward to learn to sing 
by rule? and ought they to attempt at 
that age to learn?” 

Such were some of the problems 
with which these early singers, who 
were endeavoring to satisfy their mu- 
sic starved souls with learning to sing 
the solemn psalm tunes of their day, 
were confronted. 

The New England Courant for 1723 
contains an account of a meeting of the 
Council of Churches held in the South 
part of Braintree, Massachusetts, in 
September of that year, “to regulate 
the disorders occasioned by regular 
singing in that place.” Mr. Niles the 
minister suspended seven or eight of 
his church members for “persisting in 
singing by rule” contrary, as he under- 
stood it, to the conclusions of a former 
council, but the suspended ones were 
restored to the right of partaking of 
the communion, their suspension being 
declared unjust and “the Congregation 
ordered to sing by Rote and by Rule 
alternately for the satisfaction of both 
parties.” 

The history of music in the very ear- 
ly days of the colonies is so closely 
allied with that of the church, that it 
can be truthfully said that where there 
was no music there was no church. Al- 
though Maine had several settlements 
prior to 1700, many towns, including 
Portland (then Falmouth), were entire- 
ly destroyed by the French and Indians 
in 1690, and when King Philip’s war was 
ended there were but five settlements 
remaining within the boundaries of 
Maine. In 1716 a re-settlement of Fal- 
mouth was made and in 1719 the town 
was organized. In March, 1726 (old 


style), the first church east of the Saco 
River was organized in Falmouth and 
on this date the history of music in 
Maine was already in the making. 
Parson Thomas Smith, newly or- 
dained minister of the First Parish 


Meeting House, Falmouth (now Port-- 


land), made the following entry in his 
diary under date of March 8, of that 
year, “We are the first church that ever 
was settled to the eastward of Wells: 
May the gates of hell be never able to 
prevail against us. Amen.” 

Each unmolested little town and 
hamlet was struggling toward better 
things. Some, however, were less for- 
tunate than others. It is written of 
Biddeford that no other single cause so 
much retarded the growth of that town 
or checked its prosperity as the Indians. 
It was still a frontier settlement in 
1735. In Saco, plans for a meeting 
house were started in 1719, but the ed- 
ifice was not completed until several 


years thereafter. Dr. Watts’s hymns 


were introduced in this historic build- 
ing in 1742 when the church voted they 
“should be sung at the sacrament in 
conjunction with the Psalms of David 
at the discretion of the pastor.” In 
1769, in the meeting house in the town 
of York, singing was “permitted to the 
lower floor if persons occupying the 
designated pews fit them up at their 
own expense.” A local historian records 
that the singers’ seats in this meeting 
house were at first below on one side 
of the center or broad aisle, but after- 
wards they were in the gallery fronting 
the pulpit. The deacons’ seats were di- 
rectly in front of the pulpit facing the 
congregation. Hymn books were scarce. 


It is stated that in or about 1730 most — 


congregations in Saco “could sing five 
tunes with greater or less harmony” 
and that sometimes in a congregation 
whose membership included ‘“accom- 
plished singers” this number could be 


i i i i i i it | 


MeoeCOOF THE PROVINCE OF MAINE 13 


extended to ten. The favorite tunes 
were “York,” “Hackney,” “Martyrs” 
and “Windsor.” They were sung with- 
out instrumental accompaniment. 

In Saco as in most other churches 
the tything man was employed. His 
duty was to prevent somnolently in- 
clined members and parishioners from 
taking a nap while the service was in 
progress. Armed with a long slender 
pole surmounted at one end with a 
rabbit’s tail and at the other with a 
rabbit’s foot, he would watch from a 
convenient location for a nodding head 
or other evidence of drowsiness, and 
the rabbit’s foot brought no luck to the 
man who was so hapless as to be 
“caught napping” for it would be 
brought down on his unsuspecting head 
with a resounding thwack. The “good- 
ies” however were more fortunate for 
they would be wakened from their 
slumber by the tickling of the rabbit’s 
tail on their cheek or neck. 

Of the musical services in the old 
meeting house in Brunswick it is writ- 
ten that “At the East end of the meet- 
ing house Deacon Snow, who wore a 
white wig, sat under or in front of the 
pulpit and ‘lined out’ the hymn, so that 
every man present might have an op- 
portunity to sing.” 

Tradition says of Crispus Graves, 
who was the tything man in this meet- 
ing house, that he had a great antipa- 
thy for dogs and that if one got into 
the meeting house, which was no un- 
common occurrence, that he would in- 
flict proper punishment with the lash 
of his whipstock which he always car- 
ried with him. Whether the prayer was 
in progress or the sermon going on, 
made no difference to him so that, 
“even during the singing, the yelling of 
the dog might be heard exceeding the 
voices of the chorister or the double 
altos of his choir.” 

When one speaks of the early set- 


tlers of this country and of their con- 
stant struggles for simple existence one 
is apt to think only of the physical 
hardships which they had to endure, 
their bodily deprivation and the lurk- 
ing dangers with which they were con- 
stantly menaced; but to many of them, 
educated as they had been for higher 
things, the self-imposed banishment 
from all that was beautiful in the way 
of art and music which the people of 
England and Europe were so free to 
enjoy must have meant more than their 
physical discomfort or bodily fatigue; 
for at the time of the re-settlement of 
Falmouth, and while the people of this 
country were wrestling with the sim- 
plest of psalm tunes, Europe was being 
feasted with some of the finest music 
that up to that time had been pro- 
duced, and although the majority of 
those whom the world has come to rec- 
ognize as the great music masters were 
as yet unborn, Handel had already 
made a name for himself and Bach was 
performing his wonderful fugues on the 
organs of the most famous cathedrals 
of the continent. Handel’s “Messiah,” 
however, was still unwritten, not being 
produced until 1742, and Bach’s com- 
positions were for the most part then 
unpublished. 

In 1713 the first pipe organ had been 
brought into this country. So great, 
however, was the opposition by those 
who believed that it was wrong to 
countenance the playing of instrumen- 
tal music in the churches, that it re- 
mained for seven months unpacked 
and after it had been set up in the 
Brattle Street Church in Boston, one 
of the most influential members offered 
not only to reimburse the church for 
all the expense it had incurred, but to 
give a sum of money to the poor of the 
city if he might be given permission to 
cause the unholy instrument to be 
thrown into the harbor. 


14 MUSIC AND MUSICIANS OF MAINE 


The ideas of the Colonists in this re- 
spect later underwent some changes 
and a pipe organ, which was described 
as having two rows of keys and nearly 
twelve hundred pipes, was built in 
Boston in 1745. 

One of the most meretricious devices 
ever invented for the learning of music, 
yet, owing to the scarcity of books and 
the inability of the people to read either 
words or music, one that apparently 
became necessary for the time being, 
was the custom of “lining out the 
psalm,” which is thus described by a 
critic of the times: “Ordinarily the 
psalm is read line after line by him 
whom the pastor desired to do the serv- 
ice and the people generally sing in 
such grave tunes as are most usual in 
the churches of our nation, first pray- 
ing, then singing.” There was often 
much rivalry between the deacon who 
was selected to line out the psalm and 
the members of the choir, who could 
see nothing good in this kind of per- 
formance and there are instances on 
record of choirs that openly rebelled 
against this iniquitous method of con- 
gregational singing. 

The custom, however, was unfortu- 
nately maintained for years, as from 
constant practice it had come, in many 
places, to be considered a religious 
duty. 

The journal of Parson Thomas Smith 
and the diary of the Rev. Samuel Deane 
each throw some light on the music in 
Portland before the War of the Revolu- 
tion and reflect the attitude of the peo- 
ple of the state towards the subject of 
music in its various forms and uses. 

In 1756, 25 pounds were raised by 
the people of the First Parish Church 
to purchase 380 copies of Tate and 
Brady’s version of the psalms with 
tunes annexed. 

In December, 1765, Parson Deane 
noted, “I preached in the forenoon. 


The board of singers went into the gal- 
lery, 16 in number.” 

It was then not an uncommon thing 
for the majority of the people of the 
town to be at work at six o’clock in the 
morning and those with an ardent en- 
thusiasm for music apparently thought 
it nothing to arise an hour earlier, if by 
so doing they could learn something 
about music so that they might be able 
to take an active part in chorus singing. 

In June, 1785, Parson Smith wrote 
in his journal, “We are all in ablaze 
about singing; all flocking at 5, 10 and 
4 o'clock to the meeting house to a 
Master hired viz; (Mr. Gage).” 

In these days of chimes and carillons 
it seems strange to read that anyone 
should ever have been opposed to the 
placing of a bell on a meeting house. 
The First Parish Church of Portland, 
however, was having difficulty of this 
nature in 1758. Parson Smith indited 
in his journal of that year, “Parish 
meeting about the bell Capt. Ross sent 
for, which is come. After much con- 
certed opposition, made by the out 
families who threatened never to come 
to meeting and talked of being set off 
a separate Parish, the Parish voted 
£100 to pay for it,” to which Samuel 
Freeman, the editor of this valuable 
manuscript added in a foot note, writ- 
ten ninety-nine years later, “this was 
the first bell which had been introduced 
among us to summon the people to 
church and was looked upon probably 
as an innovation, or perhaps a con- 
formity to popish usages, which beto- 
kened degeneracy or declension in re- 
ligion. The offensive novelties of one 
age become the useful and necessary 
sources of enjoyment inthe next. Thus 
the degeneracies of the base viol, the 
clarionet and the organ have produced 
their discordant notes in religious so- 
cieties and rent many in twain, to be at 
last, recognized and legitimatized as 


Serie OF THE PROVINCE OF MAINE 15 


REDUCED FACSIMILE OF TITLE-PAGE OF “URANIA” COMPILED BY JAMES LYON (1761), THE FIRST AMER- 


ICAN COMPOSER, WHO FOR NEARLY A QUARTER OF A CENTURY WAS A RESIDENT OF MAINE. 
COURTESY OF ARTHUR B. HUNT, NEW YORK. 


PHOTOSTAT. 


aids, if not to a devotion, at least to the 
satisfaction of social worship.” 

Music was appreciated by Parson 
Deane, as witness the concluding par- 
agraph of an account in his diary of an 
unusual event which occurred in Port- 
land in 1788, “More than 100 of the 
fair sex assembled at the house of Dr. 
Deane to give an exhibition of spin- 
ning. More than 60 wheels were in mo- 
tion. To conclude and crown the day 
a numerous band of the best singers at- 
tended in the evening and performed 
an agreeable variety of excellent pieces 
in Psalmody.” 


First American Composer 


James Lyon, for whom is claimed 
the distinction of having been the first 
American composer, the son of Yeo- 
man Zophar and Mary Lyon, was, for 
nearly a quarter of a century, a resi- 
dent of Maine. He was born in New- 
ark, New Jersey, July 1, 1735, and at- 
tended Princeton College, where he re- 
ceived his A.B. degree, September 26, 
1759. Five days later an account of the 


FROM A 


exercises appeared in the New York 
Mercury—the first published reference 
undoubtedly to his musical career. In 
1762 he acquired his A.M. degree and 
within a few weeks was licensed by the 
Synod of New Brunswick “to preach 
the Gospel.” He was ordained in 1764, 
and in 1765 he was sent by the Pres- 
bytery to Nova Scotia, and for a time 
(until 1771) ministered to the people 
of his faith at Halifax, Onslow, and 
other places in British territory, but 
these townships were so sparsely set- 
tled that he was unable to support him- 
self and family in them. 

It was in 1771 or 1772 that he ac- 
cepted a call to Machias, Maine, to be- 
come the first minister of the Parish of 
Machias, eight years after the landing 
of its earliest settlers. 

At the end of the first year he was 
so well liked that the Parish invited 
him to remain at a salary of eighty- 
four pounds, and one hundred pounds 
additional as a settlement, together 
with the right to share in the township. 

In 1774 the population of the town 


16 MUSIC AND MUSICIANS OF MAINE 


had increased so that there were “Eigh- 
ty families and one hundred single 
men,” and in this year the first meeting 
house was built. 

In 1781, after having served ten 
years as a Presbyterian Minister, Mr. 
Lyon organized a church there on Con- 
gregational principles, and although he 
served as its pastor for nearly thirteen 
years he never was ordained as a Con- 
gregational minister. 

Mr. Lyon was deeply interested in 
the subject of music and references to 
his genius are found in diaries of his 
day that have survived a sesqui-cen- 
tenary of time. 

In 1761 he published a collection of 
psalm tunes which he called Urania. 
It contained one hundred and ninety- 
eight pages, on ninety of which were 
printed anthems. The music plates 
were, in point of mechanical skill, un- 
equalled by any that had hitherto ap- 
peared, and the paper on which the 
book was printed was imported from 
England. 

Following the dedication there are 
twelve pages of instructions, including 
directions for the reading of music, 
transposition, sharps and flats and so 
forth. 

There are four quaint and amusing 
directions for singing: 

1. In learning the 8 notes, get the assistance 
of some person, well acquainted with the Tones 
and Semitones. 


2. Chuse that Part which you can sing with 
the greatest Ease, and make yourself master of 
that first. 


3. Sound all high Notes as soft as possible, 
but low ones hard and full. 


4. Pitch your Tunes, so that the highest and 
lowest Notes may be sounded distinctly. 

A large proportion of the names of 
the one hundred and forty-two sub- 
scribers, which were printed in the vol- 
ume, were those of officers and students 
of Nassau Hall (Princeton) in New 


Jersey. 


A second edition of Urania followed 
in 1767, and still another in 1773, after 
its compiler had come to Machias to 
become a resident of Maine. All these 
editions were printed in Philadelphia. 

It was soon after the publication of 
the first edition of Urania that James 
Lyon received his degree of Master of 
Arts, to which reference has already 
been made, and in the last edition of 
Urania the designation of his later de- 
gree is affixed to his name as the com- 
piler. 

While Hood’s History of Music is 
authority for the statement that “Re- 
port says that it ruined its publisher,” 
and a later historian, F. L. Ritter (per- 
haps because he placed too much cre- 
dence in the authenticity of Hood’s 
history), repeats the same declaration, 
it does not seem as if this were prob- 
able in view of the appearance of the 
several editions, extending over such a 
long period of time, unless, perhaps, 
the last edition was an unusually large 
one and changing tastes of a fickle pub- 
lic, resulting from the promulgation of 
the Declaration of Independence fol- 
lowing the war with Great Britain, left 
the publisher with too large a stock on 
his hands. : | 

Mr. Lyon announced that six “new 
songs” were to appear in the book and 
these which are indicated by asterisms 
appear on Pages 44, 50, 63, 125 and 
194 and are entitled the “Eighth 
Psalm,” the “Twenty-Third Psalm,” 
the ‘“Ninety-fifth Psalm,” anthems, 
“The Lord Descended,” “Let the Shrill 
Trumpet” and the “One Hundred 
fourth Psalm” of Dr. Watts. Music 
critics are agreed that these simple 
compositions compare favorably with 
the psalm tunes of his time. 

Besides the six tunes marked with the 
group of asterisks in Urania, the “Mar- 
riage Hymn,” the “17th Psalm,” the 


MUSIC OF THE PROVINCE OF 


MAINE 17 


“roth Psalm” and “Friendship” are 
among the compositions still extant 
which can be traced to the pen of James 
Lyon, though it is also possible that 
other unsigned tunes in this volume 
may have been written by him. 

These tunes do not show that Lyon 
was a composer of the first rank. In 
fact they seem to indicate that he was 
not fully conversant with musical gram- 
mar; but that he had inherent talent 
for composition to some degree cannot 
be denied. His hymn, to “Friendship,” 
contains phrases of considerable beauty 
and seems somewhat inspired. 

It is to be feared that the prejudiced 
New England historians were over 
harsh in their criticism of the work of 
James Lyon, but, be that as it may, he 
was much admired by both instructors 
and students at Princeton College; his 
compositions were sung at the com- 
mencement exercises there; and the 
Uranian Society of Philadelphia hon- 
ored him by giving his music a place 
on its programs. 

Urania was a much larger collection 
than any work of its kind that had 
been previously published in the coun- 
try. 

It is a curious fact that, although 
many hundred copies must have been 
printed during its run through its sev- 
eral large editions, but thirteen copies 
were known to be in existence in 1927. 

While the oldest existing music bear- 
ing an American imprint is dated 1698, 
and there is evidence that there were 
even earlier editions, it has been con- 
ceded that Urania was the first hymn 
book to be printed in America in the 
English language. For some time there 
Was a controversy as to whether James 
Lyon or Francis Hopkinson should be 
entitled to the distinction of having 
been the first American Composer. 

In defense of James Lyon, Arthur 
B. Hunt, in a contribution to Musical 


America in January, 1923, writes: 
“James Lyon was the first American 
composer, evidently antedating Francis 
Hopkinson. Hopkinson’s claim to be 
the first composer rests upon his own 
written statement to that effect, and 
also because of the fact that one of his 
manuscripts is dated 1759. Lyon, on 
the other hand, published the Urania 
in 1761. Lyon’s music was sung at a 
Princeton commencement, two years 
before Hopkinson’s music was included 
in a program there—a further argument 
in favor of the anteriority of Lyon.” 

In 1774 Lyon made a journey to 
Philadelphia, probably in the hope of 
making arrangements for the printing 
of a new book of music. 

Oscar G. Sonneck, who was the first 
to bring James Lyon to notice, in his 
valuable monograph, “James Lyon and 
Francis Hopkinson,” includes in that 
volume several extended extracts from 
the diary of Philip Vickers Fithian, who 
became a member of the faculty at 
Nomini Hall in Virginia, after he left 
Princeton in 1772, to make his home 
in Cohansie, New Jersey (April 22, 
1774). Fithian wrote in his journal, 
“Rode to the Stage early for the Pa- 
pers, thence I went to Mr. Hunters 
where I met with that great master of 
music, Mr. Lyon. He sung at my re- 
quest, and sings with his usual softness 
and accuracy. He is about publishing a 
new Book of Tunes which are to be 
chiefly of his own composition—.. . 
I returned towards Evening but prom- 
ised first to visit him again to-morrow 
afternoon.” 

And on the following day appeared 
the entry: “At home drawing off some 
of Mr. Lyon’s Tunes and revising my 
own Exercises —. . Afternoon accord- 
ing to Appointment I visited Mr. Lyon 
at Mr. Hunter’s. He sings with great 
accuracy. I sung with him many of his 
Tunes and had much conversation on 


18 MUSIC AND MUSICIANS OF MAINE 


music, he is vastly fond of music and 
musical genius’s. 

“We spent the Evening with great 
satisfaction to me.” 

It is bélieved that the “new Book of 
Tunes” to which Professor Fithian re- 
ferred was never published, for diligent 
search for it has gone unrewarded, and 
even the manuscript seems not to have 
survived the ravages of the years. 

Mr. Lyon was an ardent patriot and 
was, if anything, considered overzeal- 
ous. 

When Jeremiah O’Brion and his men 
captured the “Margaretta” and killed 
the British Captain Moore and also 
when they came into possession of 
Jones’ entire fleet of sloops and cap- 
tured the “Diligence” and “Tatma- 
gouch,” Lyon was one of the leading 
spirits and thus became one of the 
principal participants in America’s first 
naval engagement. 

Having become familiar with the 
weak points in the British defenses by 
reason of his residence in Onslow where 
he had acquired knowledge of the New 
Brunswick and Canadian coast lines, 
he wrote to General Washington on 
Christmas Day, 1775, offering to under- 
take to head a secret attack against 
Nova Scotia and to conduct an expedi- 
tion for the express purpose, as he 
wrote, “to add to the dominions of the 
Continental Congress another province 
before our enemies are able to defend 
ita 

Washington is said to have expressed 
his gratification and pleasure at receiv- 
ing such an offer but was obliged to de- 
cline the proffered services of Lyon on 
the ground that nothing could be done 
in that direction to advance the cause. 

It is related of Lyon that he was 
color blind and that he was unable to 
distinguish black from red. Making a 
journey toa distant city for the purpose 
of purchasing some black cloth for a 


new ministerial frock he returned home, 
greatly delighted with the quality of 
the goods, until, much to his chagrin, 
he was informed by his wife that the 
cloth was not black but as scarlet as 
were the coats of the British officers at 
that time. : 

As a minister, so fervent was he in 
his efforts to spread the gospel, that, 
for months at a time, notwithstanding 
his church was in his debt to the amount 
of more than nine hundred pounds, he 
and his family subsisted almost entire- 
ly on fish and clams taken with his own 
hands from the waters of Machias Bay 
and the flats on its shores, that he might 
continue to carry on his work as a min- 
ister when his parish was too poor to 
pay his meagre salary. 

With the exception of a period of a 
little more than a year (1783-1785) 
when he was “Stated Supply” to the 
First Presbyterian Church of New- 
town, Long Island, New York, he 
preached the gospel almost continuous- 
ly at Machias and East Machias for 
the twenty-three years preceding the 
date of his death. 

In the Sketches of the Times (of 
early Maine ministers) Mr. Lyon is 
described as “a gentleman of respec- 
table abilities and a good scholar and, 
though not much of an orator, he could 
deliver a written discourse very well, 
and his compositions were good.” 

In his religion he is said to have been 
orthodox, though not rigid, and that 
“usefulness, not display, was his aim.” 
His manners are described as mild and 
prepossessing. He was held in high es- 
teem by his people. The authority 
quoted above says, “Machias passed 
through great vicissitude and suffering 
while Mr. Lyon dwelt there, and dur- 
ing most of the war there was a public 
garrison in it. But at all times he shown 
like a morning star.” 


MuUetG OF THE PROVINCE OF MAINE 19 


Mr. Lyon was a learned man in not 
a few of the arts and sciences, and be- 
sides his musical works he printed sev- 
eral books of a religious nature. He is 
said to have been the first author in 
Maine to print books of his own com- 
position. One of his compilations was 
The Saint’s Daily Assistant for Morn- 
ing and Evening of Every Day in the 
Year, each Founded on a Particular 
Text of Scripture. 

Had James Lyon received the ad- 
vantages which he might have derived 
from the opportunity of studying with 
the best masters in Germany or Italy, 
his talents might have been developed 
to a degree that would have resulted in 
his name now being numbered among 
the truly great in music in America. 
As it appears, he is declared to be the 
first American composer, a distinction 
that is not to be undervalued. 

In 1770 William Billings of Stough- 
ton, Massachusetts, published his first 
work, The New England Psalm Singer. 

With the publication of this hymn 
book there was occasioned one of the 
greatest controversies in the history of 
the protestant churches in New Eng- 
land, a controversy that extended over 
a period of a number of years. 

The obnoxious stamp act and equal- 
ly offensive declaratory act had been de- 
clared by Parliament in 1765 and 1766. 

A large majority of the people were 
becoming dissatisfied with every thing 
British, and William Billings, with a 
vision in advance of most of his con- 
tempories, saw the possibilities in a 
publication containing a good propor- 
tion of “made-in-America” hymns. The 
New England Psalm Singer was the re- 
sult. The cultivation of music had been 
greatly developed since the beginning 
of the reformation, and the demand for 
a variety in music far exceeded the sup- 
ply. Billing’s psalm book had the ad- 


vantage of being patriotic in its char- 
acter, gave a greater variety than any 
hitherto published collection of tunes, 
and yet was not so different in the 
type of songs it included as to cause 
any prejudices to arise against it. 
Though it came in for a large share of 
criticism from the musically elect, it be- 
came one of the most popular publica- 
tions of its day. Besides the one hun- 
dred and twenty tunes and several 
anthems and the indispensable preface 
that it contained, it included a ten-page 
essay on “The Nature and Properties 
of Musical Sound,” and twenty-two 
pages of elementary instruction. This 
book proved to be one of the “best 
sellers” at a time when scores of other 
similar books were being put on the 
market to meet the cravings of these 
early peoples for variety and for the best 
in music, but it stirred up a tempest ina 
teapot, and the feeling became so strong 
between the adherents of the “Billing’s 
School,” as it came to be called, and its 
opponents that it is said that because 
of it churches actually became disrupt- 
ed, and congregations were broken up 
and scattered, and separate churches 
were formed. Though much criticised, 
this work undoubtedly played a large 
part in moulding the tastes of the colo- 
nists in the matters of music. 

in 1774 Parliament by the act of 
that year, which was aimed at Massa- 
chusetts, closed the port of Boston, al- 
tered the government of the province 
of which Maine was a part, and the 
thrilling events which followed left the 
people little time for the enjoyment or 
cultivation of music. Two years later, 
when the colonists met and declared 
their independence, Maine became a 
District of Massachusetts, and the sec- 
ond epoch in the history of Maine mu- 
sic—the music of the District of Maine 
was begun. 


CHAPTER Ti 


Tue Music or THE District oF MAINE 
1776 To 1819 


The breathing Flutes’ soft Notes are heard around, 
And the shrill Trumpets mix their silver sound; 
The vaulted Roofs with echoing Musick ring, 
Touching the vocal Stops &3 trembling string. 
— From an old music book. 


ITH the Declaration of Inde- 

pendence came a new order of 
things, musically as well as materially. 
English hymn tunes came into as much 
disfavor during this period as did the 
music of the German masters during 
the more recent world war, and with as 
little reason, to the great advantage, 
however, of the American composers 
then, as later, and “native music” was 
applauded on every hand. 

It is to be feared that some of the 
material that was substituted for the 
discarded English hymns would not 
have stood the test of comparison of 
unbiased criticism. A writer of that 
time (1784) says of the efforts of the 
early American psalm-tune writers, “the 
style of the music of to-day is inelegant, 
melody worse, harmony filled with mis- 
erable attempts at fuge.” etc., but nev- 
ertheless there was developed, in not a 
few embryo hymn writers, that dor- 
mant creative instinct from which, in- 
duced by competition, was developed 
the American composer. 

Among the first of the American pub- 
lications had been The American Har- 
mony or Royal Melody which, in 1771, 
was already in its sixth edition. This 
would further indicate that the Colo- 
nists were, for some years prior to the 
separation from England, substituting 
American made tunes for the old Eng- 
lish airs. Among the delights of the 


early American hymn writers were their 
attempts at “fuging” as it was called. 
The publisher of The American Har- 
mony, in deference to the popular taste 
of the times, announced that this vol- 
ume would contain “A new and com- 
plete Body of Church Musick adapted 
to the most select portions of the Book 
of Psalms, of either versions with many 
Fuging Choruses and Gloria Patries to 
the whole.” 

The Harmonia Americana, which 
soon followed (1791), was further in- 
dicative of the prescience of the New 
World publishers to recognize the com- 
mercial value of the magic name, 
“America,” in any form. 

In 1794 was published in the Dis- 
trict of Maine a volume of psalm tunes 
by Supply Belcher, a Maine composer, 
whose facility as a psalm tune writer 
won for him the appelative, “the Han- 
del of Maine.” 

His collection of tunes, fifty-seven of 
them, many of them original, together 
with six anthems, bore the title of The 
Harmony of Maine and because of its 
unique place in the history of Maine- 
made music, it deserves more than pass- 
ing mention. 

Squire Belcher was not only a com- 
poser, hé was one of the original Maine 
promoters. Many of his tunes were 
named, after Maine towns, among which 
were “Bath,” “Cumberland,” “Friend- 
ship,” “Farmington,” “Hallowell,” “Lin- 
coln,” ‘New Sharon,” “Readfield,” 
“Turner,” “Union,” “Unity,” “Win- 
throp,” “York” and others. The four 
parts of the music were written on 
three separate staves. The hymns were 


20 


eetoeOF THE DISTRICT OF MAINE 21 
i ane ee 


preceded by “An Introduction to the 
Grounds of Musick and Rulles for 
Learners,” in which instructions were 
set forth in paragraphs under titles such 
as, “Of the Names and Measures of 
the Notes, ufed in Mufick with their 
Reits,’ “Of the Characters ufed in 
Mutfick and their Ufes,” “Of the Vari- 
ous Moods of Time Ufed in Pfalmody,” 
“Of the Brace,” “Of Chufing Notes,” 
“Of the Keys ufed in Mufick,” “Of 
Leading Notes,” “Of Tranfition,” and 
“Of Syncopation.” 

The volume itself is, in point of 
workmanship, interesting, for the covers 
were of quarter sawn oak wood, thin 
as veneer, to which the paper was 
pasted on each side, and the whole 
strongly bound with half leather back. 

Following is taken from the title-page 
of this now rare volume: 


Harmony or Marine! Being An 
OricINAL ComposiTIon oF PsaLtm and 
Hymn Tunes of various Metre’s fuit- 
able for Devine Worship, with a Num- 
ber of Fuging Pieces and Anthems, To- 
gether with A Concise Introduction to 
the Grounds of Musick and Rules for 
Learners, For the Use of Singing 
Schools and Musical Societies, By S. 
Belcher of Farmington, County of Lin- 
coln, District of Maine. 


Awake! the everlafting lyre! 

That once the mighty Pindar Strung 
When wrapped with more than mortal fire, 
The God of Greece befung. 


Awake! arreft the rapid foot of time 

With liquid notes of joy and pleasures 
tow’ring train 

O praife ye the Lord, prepare your 
glad voice. Psalm cx.ix. 


Published by Act of Congress. Print- 
ed, Typographically, at Boston, By 
Isaiah Thomas and Ebenezer I. An- 
drews. Sold by them at Faust’s Statue, 
No. 45 Newbury Street, and by said 


SUPPLY BELCHER, “THE HANDEL OF MAINE,” COM- 
PILER OF “THE HARMONY OF MAINE” (1794) 
FROM AN OLD PAINTING IN THE HIRAM BELCHER 
HOMESTEAD IN FARMINGTON, COURTESY OF MISS 
M, B, FAIRBANKS. 


Thomas, in Worcester. Sold also by 
the Booksellers in town and Country 
— 1794. 

On the back of the title-page are 
these lines, 


As the encouragement of Arts and Sciences is 
beneficial to all countries, and especially when 
the settlement is new the Author presumes that 
the propagation of Sacred Musick will answer a 
valuable purpose — that it will not only be a 
means of forming the people into societies, but 
will be ornamental to civilization. He therefore 
presents the following work to the Public — not 
that he expects it would stand the test of criti- 
cism; but as his design is to subserve the interest 
and promote the innocent pleasures of the com- 
munity, he hopes to meet the approbation and 
patronage of the candid judges of Musick: 

He has aimed at originality in his composition, 
as much as possible — has set a number of easy 
and natural airs, for the benefit of learners, and 


22 MUSIC AND MUSICIANS OF MAINE 


rnc nnn mememsnrensnipnh ns meet SElTiianAetnanSn RSS TTT EIST i IDET) ARTIS EF IGE I SEIS SNS 6 URN aaa MR A ey 


a variety of others, for the amusement of those 
who would (have sane) proficiency. To please 
every one would be some thing new and to please 
no one, would be as new. He hopes that no 
piece will be condemmed without a fair trial. 

Those who have encouraged this work by sub- 
scription are respectfully thanked. The utmost 
pains has been taken to render it correct, and 
the Author sincerely wishes that the purchasers 
may derive a sufficient advantage, as well as 
amusement from it and make them adequate 
compensation for their expences. And as the 
primary and genuine intention of Psalm Singing 
is to praise the King of Heavens, he most earn- 
estly wishes that as often as it is attempted it 
may be attempted with becoming decency and 
reverence. 


Supply Belcher was the son of Clif- 
ford and Mehitable (Bird) Belcher of 
Stoughton (now Sharon), Mass., and 
was born on March 29, 1751, old style. 
He was well educated, as education 
went in those days, and on his moving 
from Boston, after the outbreak of the 
Revolution, he purchased a farm in 
Canton where he opened a tavern which 
came to be known as Belcher’s Tavern. 
William Billings had taught music in 
Stoughton in 1774, as a result of which 
the first Stoughton Musical Society 
came to be formed. 

Mr. Belcher became a member of 
this original Musical Society which 
should not be mistaken for the later or- 
ganization, formed in 1786, shortly aft- 
er Mr. Belcher left Stoughton, which 
having survived seven score years, has 
come to be known by the name of the 
Old Stoughton Musical Society and 
which in 1927 was the oldest existing 
musical society in America. The Tavern 
became the meeting place of the musical 
people of the town, and young Belcher 
was thereby given an opportunity to 
meet the leaders of the community in 
musical thought and hear the best 
which the place afforded in music. On 
account of the war, during which he 


served under General Washington, he 
suffered severe financial losses, and 
emigrated to Maine. Here he first set- 
tled (1785) in that part of Hallowell 
which has since become the city of Au- 
gusta. In 1791 he moved to Sandy Riv- 
er Township, which in 1794 (the year 
in which “The Harmony of Maine” was 
published), was incorporated as the 
Town of Farmington. He became the 
first Town Clerk of Farmington, re- 
ceived a justice’s commission, repre- 
sented the General Court from Farm- 
ington in 1798; and for a part of that 
period he served as Selectman. He 
taught in the schools of Farmington, 
became prominent as an educator of 
his time, and took an active part in the 
musical life of the community in which 
he became its first choir leader. 

Squire Belcher married’ Margaret 
More of Boston, a refined and educated 
woman, by whom he had ten children. 
He died in 1836, 

The town of Farmington was with- 
out doubt prominent as a center of mu- 
sic in the early days, and its interest in 
musical development was always ap- 
parent. On each Sabbath, in the old 
Center Meeting House, Supply Belcher 
led the singers in divine worship, and 
John Titcomb accompanied them on 
the flute. In 1800-an itinerant minister 
relates that “Squire Belcher called his 
singers together and gave us an eve- 
ning of sweet music.” 

The first house of worship in Frye- 
burg was built in 1787. Rev. Samuel 
Souther, in an address on the occasion 
of the Fryeburg Centennial in 1863, 
describes the music in the early days 
in this town. “For many years wor- 
ship was held in this first meeting house 
of the town, standing on the Gamage 
place, near Bear Pond. There were no 
pews and no gallery; the women sat at 
one side, the men on the other —. At 


feeee oe UP THE DISTRICT OF MAINE 23 


the giving out of the Hymn, Mr. Josh- 
ua Gamage rose near the desk and im- 
mediately from right and left, filed the 
sons and daughters of Asaph, skilled in 
song, and formed in a solid phalanx 
near their leader. Mr. Gamage was a 
famous singer, and trained a host of 
young Pequawketers to accompany 
him; for our grandmothers were a 
tuneful race, and some of our grand- 
fathers learned to keep them company, 
and their united voices, not only filled 
the little temple of the Pond, but rang 
out upon the forests around like the 
sound of many waters.” 

From these singers came to be or- 
ganized the Hans Gram Musical So- 
ciety which was probably the first reg- 
ularly organized chorus in the State. 
This society which was formed Octo- 
ber 10, 1810, gave a number of success- 
ful concerts during the few years which 
immediately followed its organization. 
Its name was taken from that of one of 
the editors of the Massachusetts Com- 
piler, the popular organist of the Brat- 
tle Street Church, Boston, and a favor- 
ite composer of his time, though not a 
very strong or original one. One of 
Gram’s pieces was “Sacred Lines for 
Thanksgiving Day,” published in 1793. 

Among the musical people of the 
district in the early days was the Rev- 
erend Seth Noble (1743-1807), a native 
of Westfield, who had moved with his 
family to Kenduskeag Plantation in 
1786 where he was ordained under the 
oaks at the corner of Washington and 
Oak Streets in that year. The township 
came to be known as Sunbury, and the 
people residing there requested him to 
procure from the General Court an act 
of incorporation of the town under that 
name. 

Noble was said to have been one of 
the best singers in the plantation, and, 
like most of the religious folk of that 
time, took keen delight in the doleful 


minor tunes of the period. His favorite 
hymn was called “Bangor,” and, on ac- 
count of his love for this old grave air, 
he presented that name instead of Sun- 
bury to the General Court. Thus on 
February 25, 1791, the first Maine 
town to be named after a popular song 
was incorporated. 

If the music is in a minor key, in 
what strain are the words of this grue- 
some verse selected from that notable 
hymn? Let the reader judge: 

BANGOR 


Stoop down my tho’ts that used to rise, 
Converse awhile with death. 

Think how a gasping mortal lies 

And pants away his breath. 


The whole country at this time 
(1793-1798) was passing through one 
of its most critical periods. The colo- 
mies, which had stood staunchly by 
each other in their fight for independ- 
ence, now came to be suspicious of one 
another. Each state felt that the other 
states were trying to get an advantage 
over it commercially, and laws were 
enacted that favored foreign commerce 
at the expense of intercolonial traffic. 
Chaos ruled in many sections. The peo- 
ple had little time for the finer things 
of life and the arts had to be neglected. 
The importance of attending church, 
however, was deeply impressed on the 
Colonists. For years after the first set- 
tlements in America it had been for- 
bidden to erect a dwelling at a distance 
of more than two miles from a meeting 
house. In the early part of the century 
among the crimes punishable by hang- 
ing or burning at the discretion of the 
court were blasphemy, witchcraft, idol- 
atry, marriage within the Levitical de- 
grees, presumptuous Sabbath breaking, 
and cursing, while, in at least one in- 
stance, the whipping post was the pen- 
alty which one had to pay for sleeping 
during the sermon. 

To the church and to the strict laws 


24 MUSIC AND MUSICIANS OF MAINE 


that made it imperative to attend Di- 
vine worship may be laid in a large de- 
gree such progress in music as was 
made in this new land, of which Maine 
was an important part, during the 
years prior to its becoming a State. 

There was, at this time, no meeting 
house in the village of Rockland, the 
first meeting house to be built there not 
having been erected until 1826, though 
a brick church was built within the 
town limits in 1820. 

In Thomaston the old church on the 
hill was built in 1795, but little is known 
of its early attempts at musical expres- 
sion. 

Hallowell, which had been perma- 
nently settled in 1754, was incorporated 
as a town in 1771. Its population in 
1780 was comprised of about two thou- 
sand inhabitants scattered over a large 
area in several settlements of half a 
dozen or more houses, each grouped 
around a church or stockade as a center. 

Augusta, which had, up to 1797 been 
a part of Hallowell, was incorporated 
as a separate town on June ninth of 
that year, and from that date that city 
continued to progress, musically. 

To Hallowell, in 1789, had come 
John Merrick, Esquire, later to become 
President and one of the founders of 
Maine’s first state-wide musical society. 

John Merrick, son of Samuel and 
Mary Merrick, was born in London in 
1766, and was of Welsh origin. He 
married (1798) Rebecca Vaughan, who 
died July, 1851. She was the daughter 
of Samuel Vaughan, Esq., London. Mr. 
Merrick was said to have been foremost 
in every plan for the public good. In 1802 
he became one of the Trustees of Hal- 
lowell Academy and in 1829 President 
of the Board. He was of refined tastes 
and was not only a cultured gentleman, 
but being possessed of a thorough 
knowledge of astronomy, navigation, 
mathematics, and surveying, was an 


extremely intellectual one. In music, 
his taste was exquisite. He had re- 
ceived his musical education in Eng- 
land, and his voice was described as be- 
ing a very sweet and highly cultivated 
tenor. He learned to sing “The Nativ- 
ity,” in its entirety, when only a boy; 
and, in college, easily took the leading 
parts in the glee clubs and other musi- 
cal activities. He played the violoncel- 
lo, so it was stated by one of his con- 
temporaries, “with extraordinary neat- 
ness, accuracy and depth of tone,” and 
he was without question one of the 
ablest music critics of his day. Through 
his guidance the choir of the Old South 
Church of Hallowell became one of the 
best “chanting choirs” in the country. 
He devoted much time to instructing 
the choir at the Gardiner Church, and 
succeeded in bringing out many fine 
voices in that town. He died at Hallo- 
well at the age of ninety-six. 

John Merrick was described as “a 
remarkable man whom those who have 
seen him can never forget. In his late © 
years, with his elastic graceful figure, 
his unusually intellectual features and 
his long snowy locks, he was the pic- 
ture of a patriarch.” He died October 
22, 1862. 

Benjamin Vaughan, M.D., before 
coming to Maine had been a practicing 
physician in London where he had 
been a member of Parliament. He was 
born in April, 1751, son of Samuel and 
Sarah Hallowell Vaughan. He came to 
Hallowell from England in 1797, when 


about forty-six years of age. A gentle- © | 


man by birth, with independent means, 
he was able to maintain a home that 
was the pride and delight of the coun- 
try. His wife, Sarah Manning Vaughan, 
was described as “a very handsome, 
elegant and accomplished lady.” 
Charles Vaughan, who had settled 
in Hallowell six or seven years earlier 


Mia OF THE DISTRICT OF MAINE 25 


than his brother, Benjamin, on the es- 
tate which he had inherited from his 
mother, was born in 1759. He “formed 
magnificent plans” to make Hallowell 
a great commercial center on the Ken- 
nebec River. He married Frances 
Western Apworth of Boston in 1774. 
To them were born three children, 
among them a son, Charles (in 1804), 
who became an accomplished perform- 
er on the flute and the violoncello. The 
Vaughans, the acknowledged leaders of 
all social events in Hallowell, were lib- 
eral patrons of the arts, and they and 
the Merricks were responsible in no 
small degree for the prestige which 
Hallowell was destined for nearly a 
century to enjoy as a musical center, 
and for the musical advancement of 
the towns along the Kennebec River. 
He died in 1839 at the age of eighty 
years. 

The seven children of Dr. and Mrs. 
Benjamin Vaughan were tutored in 
their home, studying the languages and 
sciences, music and other subjects, as 
befitted the sons and daughters of an 
English gentleman, and John Merrick 
was one of their instructors. Their 
French teacher, Monsieur Lebell of 
Paris, highly educated and exceedingly 
cultured, was an excellent violinist. 

In the households of the Vaughans 
and the Merricks music played an im- 
portant part in the everyday life. The 
best instructors in piano, violin and 
flute were employed to teach the young 
people in both of these notable families. 
Harriet Vaughan was an accomplished 
pianist as well as an excellent vocalist. 

A picture of the social life at the 
Vaughans reads like a chapter out of a 
history of the people of the period of 
Louis XV. A writer of the time says of 
it, “There was sufficient culture for 
both gentlemen and ladies to spend 
two hours of an evening conversing.” 
Yet, on occasion, the musical members 


of the families sang or played the vari- 
ous instruments with which each had 
become familiar. There were grand 
balls, during the winter months, at 
which times the mansion of the 
Vaughans “presented a picture of ele- 
gance not surpassed in subsequent 
years by the splendors of the salons of 
the Tuilleries—blazing with their myr- 
lads of wax candles.” It is said that at 
this time “no town in Maine could 
boast a more select and charming circle 
than Hallowell.” 

Among the other Hallowell families 
distinguished for their knowledge and 
facility in music were the Sheppards 
and the Abbotts. 

Captain John Sheppard, an English 
gentleman, married Sarah Collier, a 
beautiful London girl, who had re- 
ceived her education in a convent in 
France. Mrs. Sheppard was gifted with 
exceptional musical talent. They emi- 
grated to Philadelphia and later, in 
1791, located in Hallowell. 

On the death of her husband Mrs. 
Sheppard found it necessary to earn 
her own living and accepted a position 
as a school teacher. It is said of her 
that she was “a woman of elegant sym- 
metry and beauty” and that she had a 
“voice for music.” She gave lessons in 
voice and piano in Hallowell and after- 
wards taught in Portland under the 
patronage of Justice Mellen. She did 
much to stimulate the study and ap- 
preciation of classical music in both of 
these cities. 

The Abbotts came of a very musical 
family. The children of Jacob and Har- 
riett (Vaughan) Abbott were said to 
have had “a double inheritance” of mu- 
sical talent. 

Rev. J. S. C. Abbott wrote of his 
father and mother that both “were 
sweet singers,” and adds, “my father 
would join us with his bass viol and 
play for our tiny feet over the floor 


26 MUSIC AND MUSICIANS OF MAINE 


what we called a dance. Sometimes 
one of the elder boys would favor us 
with music of the flute.” 

Major John Odlin Page, whose rich 
bass voice and notable manner of sing- 
ing attracted wide notice, was the son 
of Benjamin and Abigail Odlin Page. 
He was born in Exeter, March 22, 
1772, and emigrated to Hallowell as 
early as 1790. He married Sarah Kel- 
ton, daughter of John and Mary Kel- 
ton. He was “distinguished for elegance 
of person, urbanity of manner, decision 
of character, ardent philanthropy and 
love of liberty.” He became an import- 
er and acquired a fortune. In 1810 he 
sailed for Europe and became the 
bearer of American dispatches from 
Paris to London, where he died in 1811. 
His body lies in the Parish Church of 
St. Michaels. His singing was for many 
years one of the attractions at the Old 
South Church. 

Going to meeting on Sunday must 
have been a pretty sight in those days; 
the grand dames dressed, may be, in 
their imported brocade sacks, embroid- 
ered with rose, honeysuckle or peri- 
winkle pattern, and quilted satin petti- 
coats with ruffled cuffs of Flanders’ 
lace; the young women in their tight 
fitting bodices with necks cut to a 
charming though modest depth, the 
contours of their figures half hidden in 
clouds of Mechelin, or rare black chan- 
tilly or streamers of gay ribbons, their 
swelling skirts of satine “very short,” 
by which was meant that they were 
just short enough to expose a tantaliz- 
ing glimpse of a dainty ankle above the 
smart high heeled shoes; or, as pictured 
in an old London magazine as: 
“Flowing loosely down the back” 
Drawn “with art the graceful sack” 
Ornamented “Well with gimping, 
Flowers, furbelows and crimping” 
With the “Ruffles many a row” 
Guarding “elbows white as snow; 


Knots below and Knots above, 
Emblems of the tyes of love” 

With the “hoop extending wide” 
Showed “what petticoats should hide;” 


The gentlemen looked very brave in 
their padded coats, ruffled shirts with 
lace at the wrists, embroidered waist- 
coats, stiff collars, small clothes buck- 
led at the knee, and silver buckled 
shoes, while wearing the conventional 
wigs of club curls, or tie, as best suited 
the occasion and the man; the whole 
topped off with their three-cornered 
hats measuring sometimes two feet 
from tip to tip. Even the boys of this 
period, some of them, wore their hair 
long and done up in a queue behind. 

It must be remembered that, except 
for the stage coach, there were no four- 
wheeled carriages in Hallowell at this 
time and it is doubtful if there were 
many in Maine, though the two-wheeled 
chaise had made its appearance in 
Brunswick as early as 1768, for wagons 
were not only rare but the use of them 
was opposed by many for fear they 
would frighten the horses. The ma- 
trons and maidens rode on horse back, 
often mounted on a pillion behind the 
“sood men” of the town, looking con- 
spicuously attractive with their faces 
framed in cap and kerchief of filmy 
lace as they alighted at the Old South 
Church, mayhap later to blend their 
voices sweetly together in the choir. 
Ah! these were the days — the days of 
chivalry and romance — days of which 
one likes to dream, even though he 
would not recall them. ’ 

But an entirely different picture was 
presented at this time at some of the 
more austere churches in certain other 
towns in Maine. At the old First Bap- 
tist Church in Sanford, among the ear- 
ly votes passed was this — regarding 
wearing apparel: 

December sth, 1772, church met and voted 
that it shall be esteemed a matter of offense, 


Moers OF THE DISTRICT OF MAINE a7 


I. For a brother to wear more buttons on his 
clothes than are needful or convenient for ye 
body. 2. To wear a silken ribband on his hair. 
Also, for a sister. 1. To wear ruffles. 2. To 
bow ribbands. 3. To wear laces on their cloaks. 


The Old South Church of Hallowell 
was built in 1796. This historic edifice, 
loved and revered for nearly a century 
by the people of the Kennebec, was de- 
stroyed by fire December 1, 1878. 

The singers’ seats in the Old South 
Church, as indeed in most of the 
churches of the day, were in the gal- 
lery—two rows on each side extending 
from North to South. Samuel Tenney, 
before the days of the organ, was the 
leader of the Old South Choir, and, 
dressed in his grey coat, he wielded a 
large bow over the strings of a mam- 
moth bass viol. He would give the pitch 
and his choir of well trained voices 
would respond with one of Watts’ 
hymns. The singers of the gentler sex 
were decorously partitioned off in a 
compartment of their own. The lead- 
ing soprano and alto parts were taken 
by Mrs. Thomas Bond and Lucy G. 
Dummer (afterwards Mrs. Samuel K. 
Gilman). In the choir, besides the 
preceptor, Mr. Moody, were John Mer- 
rick, Jacob Abbott, S. G. Ladd, Sam- 
uel Locke, Samuel Manning and David 
Heard. 

The question of the manner of sing- 
ing church music was, as early as 1763, 
agitated in the churches of Brunswick, 
and in that year the town voted “to 
sing Tate and Brady’s Version with 
the hymns annexed thereto, composed 
by Isaac Watts, D.D.” 

The “new mode of singing” was con- 
sidered by the ruling elders of the 
Church of Christ, Brunswick, at a 
meeting held on April 17, 1786, and it 
was voted, “that the psalms and hymns 
should be read by the deacon ie., line 
by line until all had time to provide 


THE OLD SOUTH CHURCH, HALLOWELL. BUILT IN 
1796. FAMOUS FOR ITS MUSIC AND ITS CHOIRS. 
FROM AN OLD PRINT LOANED BY MISS ANNIE F. 
PAGE. 


themselves with books. Charles Thomes 
was chosen Chorister at the East End 
and John Deering at the West End of 
the Town with liberty to appoint their 
assistants.” At a meeting held July 5th 
“there was a pretty warm discussion in 
regard to the mode of singing.” Late in 
the same year it was voted to allow the 
people of the East end of the ‘Town- 
ship to “regulate the way of singing in 
Divine Service in the East end as they 
think proper.” 

During the early days of the Society 
of the First Parish of Topsham (about 
1770), when it used to. be a meeting 
house at the East end of the town, the 
choir was large and was led for a time 
by Mr. Nichols, an excellent singer and 
a shoemaker in Brunswick. Afterwards 
it was led by a Mr. Ripley, and later 
by a Mr. Blanchard. There was no in- 


28 MUSIC AND MUSICIANS OF MAINE 


strumental music, though in 1821 ad- 
vocates of the use of a bass viol as an 
accompaniment were unsuccessful in 
introducing it into the church services. 

About 1800 the first musical instru- 
ment to be manufactured in Bangor 
made its appearance. It was a violin, 
or fiddle, conceded by the pious to be 
the main instrument in a “Diabolical 
orchestra.” As there was such a strong 
sentiment against these “instruments of 
Satan,” the work had to be slyly done. 
The wood was seasoned in the oven of 
the great grandfather of the Rev. Mark 
Trafton; the strings were made of the 
sinews of a moose, and spruce gum was 
used in place of rosin. History does not 
record its use nor its fate, but it ap- 
pears quite certain that it was not used 
in any of the churches of the day. 

The first musical instrument to be 
introduced in Augusta was in 1802, 
when thirty-five dollars was raised “for 
the purchase of a bass viol for the use 
of the parish and building a box there- 
for.” This instrument was played by 
Stephen Jewett, and no doubt was the 
subject of much criticism by the ultra 
conservative people of the town. 

The history of the Old First Parish 
Church of Saco is replete in musical 
memories. Even back in 1806 when, 
with its one hundred and twenty-six 
foot spire, in the belfry of which hung 
the Paul Revere Bell, it had its row of 
“singing seats” which were at first in 
the form of a circlé behind the pulpit, 
and it was but a little later that its 
first organ was installed. On the day 
of its dedication a mammoth tent was 
erected and there was a feast at which 
a whole ox was roasted and in which 
the members of the Parish and the 
choir participated. 

The beginning of the nineteenth cen- 
tury was marked by a great increase in 
interest in music. | 


During this period singing schools 
were organized in many towns and 
hamlets throughout New England, and 
this afforded a large market for singing 
books, which had been produced by 
other publishers. 

The Village Harmony and The Tem- 
pli Carmina were very popular among 
the people of Maine, as, in fact, they 
were also in New York state and in 
nearly all parts of Massachusetts. The 
former was printed in Exeter, and on 
its title page was noted the fact that it 
was for sale by William Hyde, Port- 
land, and Wm. F. Laine, Hallowell, 
which would seem to indicate that the 
publishers took cognizance of the fact 
that these two cities were at that time 
among the most prominent musical 
centers in the district. The more cul- 
tured had some time since become 
aware that American made music of 
that period failed to satisfy as did the 
works of the composers of the old 
world. An attempt had been made to 
Americanize some of the old English 
hymns by “revising” and “correcting” 


from “genuine and unadulterated Eu- 


ropean copies.” This attempt to ingra- 
tiate these who objected to any thing 
English in music brought forth a storm 
of protest from those who had been 
educated to the best in musical compo- 
sition. 

Containing as it did, in its later edi- 
tions, many tunes of more than ordi- 
nary worth, including quite a number of 
Handel’s, a selection from his “Mes- 
siah” and the chorus from Haydn’s 
“Creation,” besides not a few anthems, 
the Village Harmony became of great 
value to the people of the District of 
Maine, for they were thus brought in 
contact with selections from some of 
the very best old world compositions 
in music, though it must be confessed 
their opportunities for further extend- 
ing their acquaintance among the works 


Merwe Or THE DISTRICT OF MAINE 29 


of the great composers were extremely 
limited. 

The Templi Carmina, the publication 
of which followed shortly after that of 
The Village Harmony, was consider- 
ably superior to its predecessor in many 
respects. The selections were made with 
discrimination, taste, and _ excellent 
judgment, and so highly was it regard- 
ed by the Handel and Haydn Society 
of Boston that it received from them 
a very flattering endorsement. 

These two song books, The Village 
Harmony and Templi Carmina were 
used by the musical and church going 
people of Maine for many years. 

Another Maine psalm tune book ap- 
pearing in 1805 was 
The Columbian Harmony or Maine Collection 
of Church Music in three divisions containing 
first: — The rules of vocal music laid down in a 
plain manner,— Second:—a large variety of 
Psalm and Hymn tunes of various metres, suit- 
able for divine worship, arranged in alphabetical 
order,— Third:— Anthems, dirges, odes, and 
choruses suited to any occasion. ‘The whole 
completed for the use of schools, singing soci- 
eties and worshiping assemblies. 

This work contained one hundred 
and fifty tunes, “part from the best 
selections and part original.” 

In this year (1805) yet another no- 
table collection of tunes appeared. This 
was called Northern Harmony and was 
compiled by a Maine composer, Abra- 
ham Maxim. The title page set forth 
its contents as “being a collection from 
the works of many approved authors 
of Sacred Music, containing: 1. The 
rudiments of music laid down ina plain 
and comprehensive manner. 2. Psalm 
and Hymn Tunes adapted to the vari- 
ous meters in common use, together 
with several anthems calculated for use 
in Music Schools and Religious So- 
cieties.” 

This work proved so popular that a 
second edition was issued in 1808 and 
a third edition, corrected, improved 


and enlarged in 1810. In 1816 another 
edition was published and in this edi- 
tion the name of Japheth Washburn 
appears on the title page with that of 
the original compiler. Abraham Max- 
im was another composer who selected 
names for his tunes from those of the 
towns in Maine, and among the titles 
to his numerous psalm compositions are 
found, “Buckfield,” “Portland,” “Hal- 
lowell,” “Sumner,” “Turner,” ‘“Hart- 
ford,’ “Bath,” “Anson,” “Hanover,” 
“Minott,” “Monmouth,” “New Dur- 


* ham,” “North Yarmouth,” “Winthrop,” 


and “Wiscasset.” 

Northern Harmony was not, how- 
ever, Abraham Maxim’s first venture 
into the field of publication, for in 1802 
he had issued Oriental Harmony, “be- 
ing an Oriental Composition in three 
parts. Part 1. The Rudiments of Mu- 
sic and Rules for Learners. Part 2. 
Psalm and Hymn Tunes of various me- 
ters. Part 3. Anthems designed chiefly 
for the use of singing societies and 
worshipping assemblies.” 

It is said of Abraham Maxim that he 
was a man of more than ordinary abil- 
ity and that he acquired a thorough 
knowledge of the principles of music. 
It is related of him that, when a young 
man, he met with a deep disappoint- 
ment in love. So discouraged did he 
become that one day he decided to end 
his wretched existence. ‘Taking a stout 
rope he wandered into the nearby for- 
est, fully determined to carry out his 
irrational plan. Coming upon a desert- 
ed logging camp he sat down to rest 
and give the matter such consideration 
as the seriousness of the occasion de- 
served. On the roof of a lumber shack 
was a lone sparrow lamenting the des- 
ecration of her nest by an enemy-bird. 
It was some time before the plaintive 
call of the bereft sparrow made its im- 
pression on the sub-conscious mind of 
the despondent young man. Rising, he 


3u MUSIC AND MUSICIANS OF MAINE 


started to write, on the white bark of a 
large birch tree, a message to the one 
on whom he had bestowed his unre- 
quited love, in the hope that she might 
somehow see it written there. The 
words he began to inscribe seemed to 
form themselves naturally into a verse, 
which, when completed, ran this wise: 
As on some lonely building top 
The sparrow tells his moan, 
Far from the tents of joy and life 
I’ll sit and grieve alone. 


A plaintive melody, reminiscent of 
the sparrow’s lament, came to his mind, 
and he soon had the words mated with 
a fortunate musical setting. His interest 
now being distracted from its original 
intent, he began writing the voice parts 
of the song which he found himself 
composing, and he visioned the har- 
mony of the whole as the parts would 
be sung by his choir at the meeting 
house in the town. His interest in life 
returned, and, tossing the nearly fatal 
noose into the bushes, he returned to 
his home, filled with a new ambition. 
Thus was this young man, destined to 
become one of Maine’s most popular 
hymn-writers in his time, saved from 
self-destruction, and under thesestrange 
circumstances was the good old tune, 
“Hallowell,” written and composed. 

Abraham Maxim wrote more than 
fifty tunes. Among his numerous com- 
positions were a number of the popular 
melodies of the day, then known as 
“the Continentals.” Tunes written by 
this modest composer were to be found 
in the hymn books of some of the 
Evangelical churches more than a hun- 
dred years after they were published, 
and in the programs of the old Stough- 
ton Musical Society, as late as 1926. 

Another publication, compiled by Ab- 
raham Maxim, and published in 1818, 
was the Gospel Hymn Book, “Being a 


Selection of Hymns (words only) com- 
posed by different authors designed for 
the use of the Church Universal and 
adapted to Public and Private Devo- 
tions.” 

In a record found in an old pocket- 
book, once belonging to him, is writ- 
ten: “Plympton, County of Plymouth, 
January 3d, 1773, Abraham Maxim 
was born. ‘Turner, County of Cum- 
berland, now Oxford, May Ist 1781, 
Anna Merrill was born. 1801, Sept. 11. 


_ They joined their hands in wedlock’s 


bands.” 

Meanwhile other collections of psalm 
tunes, published by Maine people, had 
appeared with more or less doubtful 
success, though some met with a ready 
sale. 

In 1810 Daniel Hazeltine published 
The Instructor in Martial Music, con- 
taining rules and directions for drum 
and fife, “with a select collection of 
beats, marches, airs etc.” This is be- 
lieved to have been the first instructor’s 


book of instrumental music to be pub- 


lished in the District of Maine. 

The Musical Repertory, containing 
“a collection of the most approved an- 
thems and modern songs in four parts,” 
made its appearance in 1811. This vol- 
ume, published and sold at the “Hallo- 
well Book Store, Sign of the Bible,” 
was compiled by Ezekiel Goodale of 
Augusta and published by Peter Edes. 

The Parish Harmony or Fairfax Col- 
lection of Sacred Music, “containing a 
concise introduction to the grounds of 
music,” and, “a variety of psalm tunes 
suitable to use in divine services to- 
gether with an anthem,” was published 
by Japheth Coombs Washburn of Chi- 
na, Maine, in 1813. This book was 
printed for the author by C. Norris & 
Co. of Exeter, N. H. 

Songs of Zion, “being a collection of 
hymns for the use of the pious of all 


Moers Or THE DISTRICT OF .MAINE 31 


denominations,” was compiled by Mo- 
ses Springer, Jr. (1796-1870?), a Gar- 
diner clergyman in 1817, and success- 
fully ran through a third edition. The 
second (1818) bore the imprint of Gla- 
zier Of Hallowell and was published by 
E. S. Goodale of that town. The last 
edition was issued under the title, Songs 
of Zion or Maine Collection of Sacred 
Music. This edition was published by 
Hinckley & Norcross of Charlestown, 
Mass., in 1830. 

In 1817 another Maine publication 
made its appearance. It was The 
Hallowell Collection of Sacred Music, 
and was printed and published by E. 
Goodale at Hallowell. 

This work, which was an exceptional 
one, and of which a second edition was 
issued in 1824, was compiled by S. Ten- 
ney, assisted by two of the ablest men 
in the state, Chief Justice Prentiss 
Mellen and John Merrick, Esquire. 

Among other hymn books then used 
by the people of Maine were, The Sa- 
lem Collection, Watt's, and Belknap’s 
Psalms and Hymns, and The Ancient 
Lyre, “a collection of Old, New and 
Original Church Hymns under the ap- 
probation of the Professional Musical 
Society in Boston, arranged and com- 
piled by Ch. Zeuner, organist of the 
Park Street Church and to the Handel 
and Haydn Society.” 

The last was an excellent collection, 
which, like most of those previously 
noted, ran through several editions, and 
because of its merit and the prestige 
given it by the fact that it was com- 
piled by so noted a musician, it came 
to be in great demand by the best mu- 
sical societies. 

That the booksellers and music deal- 
ers were not able during the first years 
of the century to live by the sale of 
psalm books alone may be judged from 
this unique advertisement of Clark’s 


Bookstore taken from a Portland paper 
published in September, 1813: 
Now in Press and will be published 
in October next, a large edition of 
Smith and Sleeper’s Harmonies. 
Cash given for Rags and Junk. 


In 1818 Japheth C. Washburn com- 
piled The Temple Harmony. This vol- 
ume of psalm tunes was published 
jointly by E. Goodale of Hallowell and 
the compiler. In the advertisement of 
the work it was cited: “Music being 
a delightful part of Christian worship 
and eminently calculated to inspire the 
heart with sentiments of pleasure and 
devotion it is therefore very important 
that societies should be furnished with 
those well selected and as much as pos- 
sible of the same kind in order that 
they may with greater convenience 
unite in the performance of the same.” 

In this same year was advertised in 
the Maine newspapers, besides a num- 
ber of the works already enumerated, 
several collections of melodies for vari- 
ous instruments, which included, 4 
Choice Collection of Flute Melodies, 
A New and Highly approved Violin 
Preceptor, A New and Complete Pre- 
ceptor for the Fife, and The Complete 
Fifers Manual. 

It was in the year 1818, it will be 
remembered, that the flag of the Union, 
with its thirteen stripes and a star for 
each state in the field of blue, was 
adopted, and it was also in this year 
that the British surrendered Eastport 
to the United States, at which event 
the red coats marched out, so the pa- 
pers of the day state, to the tune of 
“Yankee Doodle,” then in the height 
of its popularity. 

The Instrumental Director (1819) 
“containing rules for all musical in- 
struments” in common use laid down 
in a plain and concise manner to which 
is added “a variety of instrumental 
music of the richest and most popular 


32 MUSIC AND MUSICIANS OF MAPHE 


kinds extant,” proved to be a popular 
work. This volume was printed in Hal- 
lowell by Glazier, Marsters & Smith 
and ran through a number of editions 
of which the sixth was published in 
1836. 

Yet another collection of songs by 
one of the early emigrants to Maine 
was The Chorister’s Companion, com- 
piled by Edward Hartwell, who settled 
in Old Canaan on the South side of the 
Kennebec River about 1780. With him 
came his wife and three children from 
their former home in Concord, Mass., 
while seven more children were born 
after they took up their residence in 
Maine. 

Though the town records of Skow- 
hegan were destroyed by fire, among 
the Skowhegan Historical Society’s col- 
lection of valuable documents are still 
preserved the Eben Weston papers, the 
author of which was born in 1802. 

Referring to the Hartwells, he says: 

“They were a family of singers, and 
Stephen played the bass-viol. Ben was 
a carpenter and joiner, and married a 
daughter of Uncle Solomon Steward.” 

“Two daughters of Edward Hart- 
well, Emmeline and Angeline were the 
leading alto and soprano in the Con- 
gregational church choir for several 
years. Samuel, the youngest son had a 
fine tenor voice, and taught singing 
school with credit.” 

“Edward Hartwell was a well in- 
formed man, an extensive reader for 
his time, and sarcastic and witty in his 
peculiar fashion. He was called a good 
singer, though not so good as his son 
Samuel, and he had a better knowledge 
of music than any in the region around. 
He compiled a singing book, which 
contained some of his own composi- 
tions.” 

“His book was the first to introduce 
tunes not strictly of a religious char- 
acter. Among these was the ‘Indian 


Philosopher’ with words not at all de- 
votional. But it was afterwards adopted 
by some more popular books of church 
music, by the name of ‘Ganges.’” Words 
by Charles Wesley were set to this old 
air which has survived for more than 
a century. 

Edward Hartwell was born in Lun- 
enberg, Mass., August 20, 1747. His 
music book, which was written after he 
came to Maine, contains a number of 
psalm tunes named after neighboring 
towns and localities. Among these are 
“Norridgewock,” “Orrington,” ‘“Corn- 
ville,’ “Union,” “Shiloh,” “Anson,” 
“Mountain,” and “Skowhegan,” all but 
one of which were set to Watts’ lyrics. - 
Other tunes were named “Adoration,” 
“Ashford” and “Tribunal.” 

Part II of this volume contained “A 
Variety of Valuable and Entertaining 
Psalm Tunes, Odes and Anthems for 
use on Particular Occasions, a Number 
of which Were Never Before Pub- 
lished,” among which were: 

Anson, C. M. Hymn 8 b. 3. —Watts 

Cowper, L. M. Words by Cowper 

Mountain, C. M. 

Wedlock, Words from Watts’ Lyric Poems 

The Indian Philosopher. Words from Watts’ 

Lyric Poems 
Capernaum, P. M. M.H. Book 
Emmaus (recitative) 

Nativity, Words from Watts’ Lyric Poems 
Salutation Hymn 18, B. 1 Watts 

Self Consecration, Watts’ Lyric Poems 
Compliance, Hymn 24 & 50 B, 2 Watts 
Creation, C. M. Watts’ Lyric Poems 
Skowhegan, Watts’ Lyric Poems 
Independence (Psalm 18) — Watts 


The Conquerors Song, to be sung on the Fourth 
of July, in remembrance of the American Vic- 
tories gained over two British Armies, viz. — 
General Burgoyne and his whole army Oct. 
1777 and Lord Cornwallis and his whole army, 
Oct. 1781. 

Chorazin, C. M. Hymn 62, B. 2— Watts 
The hymn was made in a great sudden storm 
of thunder, August the 2oth, 1697. 

Southwick, C. M. Psalm 14th, 2d part—Watts — 
by S. Hartwell 

Morning Song, C. M. Watts by S. Hartwell. 


foo OF THE DISTRICT OF MAINE 33 


Among the hymns, odes and an- 
thems which the book contains are a 
number by Billings, Holden, Dr. Arne, 
S. Chandler and others. 

The title page of the Hartwell book 
reads as follows: 

The Chorister’s Companion — containing — A 
concise introduction to the grounds of Music — 
A variety of plain Psalm Tunes and Occasional 
Pieces,— Original and Selected,— in Two Parts 
—I. An Introduction to the Grounds of Music 
and a variety of Tunes suited to all the Metres 
— Now Used in the American Churches,— II. 
A variety of Anthems, Odes and Occasional 
Pieces. By Edward Hartwell—Exeter—Printed 
by C. Norris and Co. for the Author. Sold by 
the Booksellers in the New England States, 1815. 

The advertisement is dated Bloom- 
field, November, 1815. The book con- 
tains 15 pages of instruction. Part I, 
90 pp. Part II, 91-166. There is also 
an index of tunes, odes, anthems. 

Solomon Steward, whose daughter 

Mary married Benjamin Hartwell, was 
the head of another musical family. 
‘ Mary Steward, who had a voice of 
unusual quality, and her sister Zilpha, 
who never married, were both singers 
in the old meeting house which was 
erected in Bloomfield in 1788 and was 
later demolished. 

There is much in Edward Hartwell’s 
life of more than musical interest, since 
he was one of the original minute men 
at Lexington and participated in the 
Battle of Bunker Hill and other events 
of the Revolutionary War, to which he 
contributed eight months of service. 
He died in 1844. 

Among the very first residents of 
Skowhegan were a number who were 
distinguished for their musical knowl- 
edge and ability. To Eben Weston this 
generation of musicians is indebted for 
a description of the first music of which 
there is any record in Skowhegan. 

At first, church services were held in 
the homes of the inhabitants of the 
town. Afterwards a meeting house was 
built in 1788. The sacred edifice, the 


first in the town, occupied part of the 
enclosure afterwards used as a grave- 
yard and known as the Bloomfield 
Cemetery. A parade ground, on which 
the militia drilled, occupied the land 
adjoining it. 

In the Eben Weston papers it is 
stated that the first singers in the old 
meeting house were Joseph Emery, Mr. 
Noyes,: and Joshua Jewett. Solomon 
Steward, Jr., led the singing there, and 
afterward, for several years, in the Bap- 
tist Church. 

“I well remember, when I was a 
boy,” he writes, “seeing ‘Uncle’ Joe 
Emery, who was the leader, a Mr. 
Noyes, who sung counter, and Joshua 
Jewett, bass standing up to sing in the 
broad aisle near our pew, and making 
the house ring with ‘Sherbourne’ or 
‘Complaint,’ or some of those old fugue 
tunes. I thought it was very fine music. 

‘oe. 3 joseph Emery (born. 1757) 
lived on the road toward Bigelow Hill. 
He was the leading singer in Canaan 
in early times, and was esteemed a 
good singer of old-time music in old- 
time style. The air was always sung 
by male voices also the counter, except 
that Mrs. Ben Hartwell sometimes sung 
it an octave lower than it was set, since 
she was a soprano singer. This con- 
tinued till George Bixby kept a singing 
school in the old Academy in 1820, 
when new books and a new style was 
introduced, the parts assigned as at 
present; the counter became alto, and 
the treble became tenor.” 

In the twenties Mrs. Timothy Drew 
played the bass viol in the first church 
built in Bloomfield in 1788—a most 
unusual circumstance —and it is not 
unlikely that she was the only woman 
instrumentalist in any church in New 
England during that period when wom- 
en’s activities were closely restricted by 
the bonds of conventionality. 

Charles Robbins, a cabinet maker 


34 


who lived in Winthrop, was another of 
Maine’s early composers. He wrote 
both words and music that may be 
found in the old psalm-tune books of 
his day. He was the son of Luther 
Robbins who came to Greene from 
Hanover, Mass., in 1788 and who rep- 
resented Maine at the General Court 
of Massachusetts for many years. 

Though not so closely identified with 
music as with literary matters, it is 
said that Nathaniel Deering of Port- 
land “wrote a few tunes” and that the 
Longfellows were a musical family. 

Samuel Longfellow in his diary writes 
that in 1817, “in the home there were 
books and music” and “in the home 
parlor the sister’s piano had replaced 
the spinet of his mother’s youth. “The 
Battle of Prague,’ ‘Governor Brook’s 
March,’ ‘Washington’s March,’ and 
other music of the period were familiar 
and to such songs as ‘Henry’s Cottage 
Maid,’ ‘Brignal’s Banks,’ ‘Bonnie Doon,’ 
‘The Last Rose of Summer,’ ‘Oft in the 
Stilly Night,’ Henry lent his voice and 
the training of the singing school, while 
the lessons of the dancing class were 
repeated in the parlor to the tunes of 
‘Money. Musk,’ ‘The Haymakers,’ and 
‘The Fisher’s Hornpipe.’ ” 

In the Sunday evening devotions 
were always included the singing of 
one or more simple familiar hymns — 
“St. Martin’s,’ “Dundee,” “Brattle 
Street,” or some other generally chosen 
from the Bridgewater Collection. 

Zilpah Wadsworth came to the Wads- 
worth-Longfellow Mansion (built 1784- 
1786) when she was seven years of age 
and it is written of her that “she was 
fond of poetry and music, and in her 
youth, of dancing and social gayety.” 

Henry Wadsworth Longfellow be- 
came quite an accomplished flutist and 
it was said of him that he charmed the 
birds in the garden back of his Con- 
gress Street home by his playing. 


MUSIC AND MUSICIANS OF MAINE 


The poet, throughout his life, was a 
lover of music, and some of his refer- 
ences to music both in his prose and 
poetical writings are frequently quoted, 
but perhaps none more often than his 
translation from the German of We- 
ber’s “Music is the universal language 
of mankind”; or his lines beginning, 
“Still heard in his soul the music of 
wonderful melodies,” from “The Day 


is Done”; while his poems “The Sing- - 


ers” and “The Arrow and The Song,” 
have been recited times without num- 
ber by children in the public schools 
throughout the country. 

Commander Alexander Scammel 
Wadsworth (1790-1851) brother of the 
mother of the Poet Longfellow, was 
one of those who received his musical 
education in Maine. He served with 
distinction as Lieutenant under his 
friend and neighbor Commodore Preble 
on the old “Constitution” at Tripoli 
and was second in command when the 
British frigate “Guerriere” struck her 
flag to that much revered vessel. He 
passed his later years in Washington 
where he continued his interest in mu- 
sic until his death. 

The people of New England, in this 
early period, were really hungry for 
good music, and lectures on music 
came to be quite the vogue. 

On May 28, 1800, Dr. Samuel Emer- 
son of Kennebunk delivered a lecture 
on “Oratorio and Music” in Portland, 
and in 1812 Dr. Ammi 


several lectures in Portland and else- 


where “On Sacred Music.” Other sub- 
jects for Dr. Mitchell’s public appear-_ 
ances were “Oratorio,” and “Beetho- — 
ven.” He was devoted to his art. His © 


death occurred in 1824. 


A number of musical lectures of the 
time found their way into print. Among — 


these were “An Oration on Music; pro- 


nounced at Fryeburg, before the Hans- 


Ruhamah ~ 
Mitchell of North Yarmouth delivered — 


ee 7 va ri 


MUSIC OF THE DISTRICT OF MAINE 35 


Gram Musical Society, on the first an- 
niversary, October 10, 1811. By Oliver 
Bray, Esq.,an honorary member, Port- 
land; Printed by Arthur Shirley. 1812. 
8 mo. pp. 21,” and, “An Address on 
Music; delivered before the Handel 
Society, Dartmouth College, August, 
1809. On occasion of their anniversary. 
By Francis Brown” (1784-1820), who 
resided in North Yarmouth from 1810 
to 1815. This book was published at 
_ Hanover, N. H., and was printed by 
Charles and William J. Spear in 1810 
(8vo. pp. 23). 

Oliver Bray was prominent in ma- 
sonry and music. He became Past 
Master of the St. Albans Lodge of Ma- 
sons of Guilford, Connecticut. 
Musical societies were formed in 
many parts of the State for the study 
of serious music, and music of a relig- 
1ous nature. 

The principal musical centers in 
Maine, then, appeared to be Augusta, 
Biddeford, Fryeburg, Hallowell, Bath, 
Brunswick, Bangor, China, Wiscasset, 
Gardiner, South Paris, Norway, and 
Portland, and some of the towns in the 
Kennebec Valley. 

Musical instruments were rare. The 
Second Parish Church, on the corner of 
what is now Middle and Vine Streets, 
Portland, in 1798 boasted the first 
church organ to be used in any church 
in that city and Nicholas Blaisdell, who 
became its organist, was voted a salary 
of twenty-five dollars per year. 

The Rev. Elijah Kellogg describes 
the music as rendered in the Second 
Parish Church, prior to the purchase 
and installation of their first organ, as 
follows: “At first there was no instru- 
ment except the base viol. The choris- 
ter, conscious of the dignity of his office 
would rise with solemn air and run up 
the scale, beating time with his hand, 
and lift the tune. My father who had 
been a drum major in the Continental 


Army and was extremely fond of in- 
strumental music introduced the cornet 
and clarinet in addition to the base viol 
in the Second Parish Church.” 

The clarinet, or clarionet as it was 
then called, and bass viol continued to 
be used in some of the churches as the 
least offensive means of accompani- 
ment, though most of the meeting 
houses still clung to the old pitch pipe 
and chorister as their only means of 
musical assistance. 

The First Parish Church, at this 
time, was using a bass viol as its only 
instrument of accompaniment. ‘ 

At this period the old fashioned sing- 
ing schools flourished and furnished a 
means of musical education as well as 
a measure of entertainment. John Fair- 
banks, one of the first singing masters 
in Rockland, taught there in 1787. 

Abial Briggs, who moved to Gorham 
as early as 1780, came to be known as 
a musician-farmer. General Irish of 
that town, in 1790, engaged Mr. Briggs 
“to keep a singing school” in his fa- 
ther’s house and paid him in corn and 
pork. Mr. Briggs married Lucy Per- 
kins of Gorham and about 1800 moved 
to Portland where his last days were 
spent. 

In 1816 P. Lewis, “professor of mu- 
sic,’ taught the organ, pianoforte, vi- 
ola, clarionet, flute and other instru- 
ments in Portland. He resided over 
Patten’s Book Store. 

In November, 1817, William Davis 
opened “a school for the instruction of 
Ladies and Gentlemen in the rules of 
singing” at Portland, and in the year 
following N. Tenney opened a singing 
school in Hallowell, “for the purpose of 
giving instruction in Sacred Vocal Mu- 
Sie 

Even singing schools, however, were 
looked upon askance by some of those 
who were entrusted with the bringing - 
up of the young people of Maine in the 


36 MUSIC AND MUSICIANS OF MAINE 


ASSEMBLY HALL, KING STREET, WHERE DRAMATIC AND MUSICAL ENTERTAINMENTS WERE GIVEN AS 
EARLY AS 1794 AND WHERE OPERA WAS PERFORMED FOR THE FIRST TIME IN PORTLAND. FROM A PHO- 
TOGRAPH TAKEN BY THE AUTHOR IN 1927. 


early days. Josiah Pierce’s History of 
Gorham is authority for the statement 
that the “scholars” at the Gorham 
Academy about 1810 “‘were prohibited 
from attending music or dancing 
schools.” 

Musical entertainments of a secular 
nature were rare, and the drama was 
wholly unknown in Maine previous to 
the Warvof the Revolution. 

The first theatrical presentation in 
Portland was made during the evening 
of October 7, 1794, at “the Assembly 
Room,” which had been fitted up on 
the second floor of a two and a half 
story frame building on King [India] 
Street, when a comedy, “The Lyar,” 
and a farce entitled, ““The Modern An- 
tiques or the Merry Mourners,” was 
performed by Mr. and Mrs. Powell and 
their company. Between the acts a 
song entitled “The Learned Pig,” was 
sung “with much success” by “Mr. 
Jones,” a member of the cast. Six days 


later Arnold’s comic operetta, “Incle 
and Yarico,” was performed by the 
same company. This was probably the 
first performance of any opera in the 
State of Maine. | 
In 1796 a very young singer made 
her appearance at the New Assembly 
Hall, as this room was afterwards 
named. This was not, as some are in- 
clined to believe, her first stage appear- 
ance, for that had been made earlier 
in the year at Boston. Her sweet voice, 
as she sang between curtains, won for 
her many friends and she became a 
general favorite with the Assembly 
Hall patrons. This child, for she was 
scarcely more than nine years of age, 
destined to become the mother of one 
of the greatest literary celebrities of his 
age, Edgar Allan Poe, was the daughter 
of the leading lady of the company by 
her first husband and bore the name of 
Elizabeth Arnold. Her vocal contribu- 
tions to the program included the pop- 


i 


MusetCoOF THE DISTRICT OF MAINE 37 


ular songs of the day, two of which 
were “The Market Lass” and “Listen 
to the Voice of Love.” 

The sentiment in Portland was de- 
cidedly against theatrical productions, 
in any form, and after a few weeks of 
doubtful success, the company closed 
its engagement in January,1797. Atthe 
final appearance of the company, Miss 
Arnold recited an epilogue, written for 
her by Hon. James Deering, a gentle- 
man of the town: 

Tho’ now I like a bird of passage fly 
When Phoebus’ rays with stronger ardor burn 
With still stronger ardor shall I seek return, 


Then may I hope at a maturer age, 
Indulged by you, to tread the Portland Stage. 


The leading parts in the operas were 
sung by Mrs. Tubbs (Miss Arnold’s 
mother), Mr. Tubbs, the manager, Mr. 
Clapham and Mr. Partridge, while 
minor parts were taken by aspiring 
amateurs of the town. Mrs. Tubbs, 
formerly of the Theater Royal, Covent 
Garden, London, was a young and tal- 
ented actress and a captivating singer. 

Nearly all the programs were divided 
into two or more parts, which generally 
opened up with a tragedy and closed 
with an operetta. 

Among the operettas and comic op- 
eras presented in Portland before 1805 
were, “Babes in the Wood” (1789), 
Storace’s “No Song, No Supper” 
(1799), “The Highland Reel” (1804), 
Shield’s “The Poor Soldier” (1804). 

Each company brought its own pi- 
ano, which was shipped from Boston 
to Portland by packet. 

On November 10, 1794, a concert 
Was given in the Assembly Room by 
Mr. Boullay, “master musician.” At a 
concert in this hall in May, 1800, it is 
noted that the orchestra was com- 
posed of a clarinet, French horn, piano, 
violin and hautboy. 

The old building in which the As- 
sembly Hall was located was built in 


ELIZABETH ARNOLD POE, MOTHER OF EDGAR ALLAN 
POE, WHO, AS ELIZABETH ARNOLD, AT THE AGE OF 
NINE, CHARMED PORTLAND AUDIENCES ~ (1796) 
WITH HER SINGING AT THE OLD ASSEMBLY HALL 
ON KING STREET. FROM AN OLD PRINT. BY PER- 
MISSION OF DR. APPLETON MORGAN, NEW YORK. 


1793 by Nathaniel Coffin, 2nd, a Port- 
land physician, and was still standing, 
though in a state of semi-ruin, in 1928. 
The Assembly Room on the second floor 
had a floor space of about twenty- 
seven by thirty-five feet and at either 
end was a large fireplace. The stage 
was at the back of the room with an 
arch of about fifteen feet in width and 
about nine feet deep. Between the 
stage and the fireplaces the remaining 
space accommodated about seventy- 
five people when packed to capacity. 
In December, 1805, a New Museum 
of Wax Works at Stephen Lee’s Tav- 
ern, Free Street, Portland, was adver- 
tised with “Music on the Organ.” 
Secular concerts and entertainments 
by visiting artists were being given in 
Union Hall, Portland, as early as 18109. 


38 MUSIC AND MUSICIANS OF MAINE 


The Massachusetts legislature of 
1806 had enacted its “blue laws” re- 
garding the performance of dramatic 
works, so for a while dramatic com- 
panies visiting this section had to be 
satisfied with giving “Moral and En- 
tertaining Amusements” in place of 
dramas, melodramas and comedies. 

The first mention of any musician 
in the history of Bath is contained in 
the statement of an unusual incident 
relating to the origin of the name of 
Fiddler’s Reach, an elbow of the Ken- 
nebec River at the lower extremity of 
Long Reach. 

Some years before Maine became a 
State a little party of explorers were 
aboard a sloop which entered the mouth 
of the Kennebec River. As the boat 
passed through the head of the river, 
the small body of men on board be- 
came jubilant when this “reach” of 
water four miles in extent came into 
view. Among them was a fiddler who 
grew so enthusiastic that he went out 
on the bowsprit to play a tune, when, 
it is so related in the log of the vessel, 
“At that time the wind slat the jib and 
knocked him overboard and he was 
drowned.” 

While Bangor was probably the first 
town in the State to be named for a 
musical composition, the settlement of 
Mackville (now Blue Hill) appears to 
have been the first to be named for a 
musician. Old Peter McFarland, the 
town fiddler, a unique character of the 
early days in that section, seems to 
have been thus honored. It does not 
appear that he was skilled in the clas- 
sics but his popularity among the friv- 
olously inclined was unequalled in 
Hancock County. 


The Handei Society of Maine 


With the birth of the Handel and 
Haydn Society in Boston in 1815 a 
new era of Music was begun in New 


England. The influence of this society 
on the taste for cultural music was re- 
flected in Maine by the forming of the 
Handel Society of Maine. 

The first official notice regarding the 
Handel Society of Maine appeared in 
the Portland Gazette of January 17, 
1814. 

The members of the Handel Society of Maine 
are hereby notified that their first meeting will 
be holden in Portland on Thursday, the third 
day of February next at 10 o’clock A.M. in the 
Chamber over the Portland Bank. A general 
attendance is requested not only for the purpose 
of musical performance, but the choice of officers 
and the adoption of necessary regulations. 


January 19. (unsigned) 


An editorial in the same paper of 
February 7, 1814, under the headline 
“Handel Society,” said: 

On Thursday last the Handel Society of Maine 
held their first meeting in Portland for the or- 
ganization of the Society. We understand it 
consists of Gentlemen in various parts of the 
District, whose object in associating is to pro- 
mote a taste for correct, refined & Classical & 
Church Musick. 

John Merrick of Hallowell was chosen Presi- 
dent;— John Watson of Portland, Secretary; 
Horatio Southgate, Esq. do. Treasurer; Prentiss 
Mellen, Esq. Vice President of the Section in 
Cumberland; Dr. Samuel Emerson, do. do. York; 
Mr. John Eveleth, Vice-President, do. do. Ken- 
nebeck; and Professor Abbott, do. do. Lincoln. 

Messrs. Merrick, Mellen, and Southgate were 
the Standing Committee to superintend Musical 
publications proposed by any member of the 
Society. ; 

From 1716 to 1760 the entire Dis- 
trict of Maine from the Piscataqua to 
the St. Croix Rivers was embraced 
under the County of York. In 1760 
Cumberland and Lincoln Counties were 
established; and then, Lincoln County 
included all the land east of the An- 
droscoggin River. Kennebec County 
was set off in 1799, from the northerly 
part of Lincoln County, so it will be 
seen that it was the intention of the 
Handel Society of Maine to have each 
county in the State represented by a 
Vice President. | 


The scope of the Handel Society was 
wide, but there is little of record re- 
garding it. It was still in existence as 
late as 1817 and may have been for 
some time after that date. 

Its semi-annual meetings were gen- 
erally held at Bowdoin College in Sep- 
tember and March of each year. It may 
have been that the proposition was too 
ambitious in design—this attempt to 
include the whole state in a great so- 
ciety of this kind at that time — or it 
may have been that the professional 
demands on the time of these gentle- 
men may have precluded the possibility 
of their giving the enterprise that at- 
tention needful to its continued suc- 
cess, or, what is more likely, it may 
have been that the limited resources of 
the majority of those who composed 
the singing body (if indeed there was 
one) of the organization, coupled with 
the difficulties of traveling over roads 
that were almost impassible for a con- 
siderable portion of those seasons of 
the year that are most propitious for 
gatherings of such a nature, made the 
project an impractical one for that 
period. 

Inquiries at the State Houses at Au- 
gusta, and at Boston, fail to reveal that 
the Handel Society of Maine was ever 
incorporated as a society, and so far as 
known there are no papers of incorpo- 
ration of record either at the Cumber- 
land County, Kennebec County or York 
County Registry of Deeds. 

Neither does there appear to be any 
records of the society at the Maine His- 
torical Society, at Bowdoin College, or 
at any of the other historical societies 
and libraries in the state. 

A careful search of the files of the 
newspapers of Portland and Hallowell 
from 1814 to 1818 has not brought to 
light any notice or advertisement of 
any performance by the society, though 
this would not necessarily mean that 


Sec OF THE DISTRICT OF MAINE 39 
$$ eee 


JOHN MERRICK, FIRST PRESIDENT OF THE HANDEL 
SOCIETY OF MAINE (1814). FROM A PHOTOGRAPH 
OF A PAINTING BY C. L. ELLIOTT (1856) LOANED 
BY MISS ANNIE F. PAGE, HALLOWELL, 


none was given, for many of the events 
of this period depended for their pub- 
licity on the distribution of what was 
then known as “small bills” on which 
was printed the announcement. These 
were tacked up on trees or posted in 
other conspicuous places as was the 
custom of the times. Of the men who 
were sponsors for the Handel Society 
of Maine, fortunately much has been 
recorded for they were all men well up, 
if not at the very top in their respec- 
tive callings. 

Of John Merrick, the first President 
of the Handel Society of Maine, a brief 
sketch will be found in the early part 
of this chapter. 

Chief Justice Prentiss Mellen (1764- 
1840), Vice President of the Handel 


40 MUSIC AND MUSICIANS OF MAINE 


PRENTISS MELLEN, VICE PRESIDENT OF THE HAN- 
DEL SOCIETY OF MAINE (1814). FROM A PORTRAIT 
BY JOSEPH B. KAHILL IN THE FEDERAL COURT- 
HOUSE AT PORTLAND. BY COURTESY OF THE ART- 
IST. 


Society of Maine, was the eighth of 
nine children born to the Rev. John 
Mellen of Sterling, Mass., in which 
town he was born. His mother was Re- 
becca Prentiss, daughter of Rev. John 
Prentiss of Lancaster. He received his 
degree at Harvard in 1784, and was a 
classmate of John Abbott, long a pro- 
fessor at Bowdoin. He practiced law in 
Biddeford; in 1804 he was appointed 
Chief Justice. He was a member of the 
Executive Council in Massachusetts in 
1808, 1809 and in 1817; was delegate 
at large to the Presidential election in 
1816, and represented Massachusetts 
in the Senate in 1817. He married Miss 
Sallie Hudson of Hartford, Conn., in 
May, 1795. Miss Hudson was a very 
accomplished young lady and it was 


her musical talents that were said to 
have first attracted his attention. Six 
children were born to them, all in Bid- 
deford. Judge Mellen died at Portland. 

John Abbott, Vice President of the 
Handel Society of Maine, eldest son of 
Capt. John Abbott and Abigail Abbott 
of the Rowley line, was born at An- 
dover in 1759. He was described as “a 
scholar, a gentleman and a Christian.” 
He studied at the Andover School, 
graduated at Harvard in 1784, taught 
at Phillips Academy, Andover, about 
three years, and was tutor at Harvard 
1787 to 1792. He studied for the Di- 
vinity, but, on account of ill health, 
was unable to preach, and so engaged 
as cashier in one of the banks in Port- 
land. In 1802 he was made Professor 
of Ancient Languages and Classical 
Literature at Bowdoin College and held 
that place for fourteen years, during 
the first three years of which he was 
the only professor at that institution 
of learning. When he resigned in 1816 
or 1817 he was appointed trustee and 
treasurer and was a member of the 
faculty for about twenty-five years. In 
1794 the college was granted five town- 
ships. One of Professor Abbott’s duties 
was to look after this property. It was 
wild land and during his surveys he 
would be for weeks at a time in the 
trackless forests. The town of Abbott 
in Piscataquis County, it is stated, was 
named for him. He was noted for his 
benevolence and tenderness in regard 
to others. He died at Andover, July 2, 
18437 

Dr. Samuel Emerson, Vice President 
of the Handel Society of Maine, settled 
in Kennebunk and practiced medicine 
there all his life. He was devoted to 
music, was proficient on the organ, sang 
tenor and played the bass viol and the 
cornet in the Parish Church Choir. He 
was also President of the York County 
Musical Association and was an orator 


ee a 


MeoeotouwFE THE DISTRICT OF MAINE 41 
eo 


on many occasions. He wrote little pa- 


pers on music for the Village Visiter of . 


Kennebunk, printed about 1820. When 
LaFayette went to Kennebunk on his 
way to Saco in 1825 Dr. Emerson 
“drummed” in the parade, and was 
Chairman of the Committee of Arrange- 
ments on that auspicious occasion. He 
had enlisted as a drummer boy in the 
Revolutionary War at the age of eleven 
or twelve, and was then exceptionally 
large for his age. He died in 1851 at 
the age of eighty-six. 

John Eveleth, Vice President of the 
Handel Society of Maine, came from 
Stow, Mass., in about the year 1800 
and settled in Augusta, where he first 
formed a mercantile partnership with 
John Brooks. He afterwards became 
associated with Greenwood C. Child, 
and later with John H. Hartwell, under 
the firm name of Eveleth and Hartwell. 
He was, for many years, a deacon of 
the South Parish Church. The man- 
sion which he built at the junction of 
State and Western Avenues, and oc- 
cupied during his life time, became a 
hotel, known as the Central House. 
Deacon Eveleth married Sarah Hall of 
Harvard, Mass. He died at the age of 
seventy-six in March, 1848. 

Horatio Southgate, the Treasurer of 
the Handel Society of Maine, was Reg- 


ister of Probate in Portland for twenty- 
one years. In 1823 he lived on Pleasant 
Street, near Ann Street (afterwards 
called Park St.), in that city. 

Following shortly after the birth of 
the Handel Society of Maine came the 
organization of the Hancock Musical 
Association. 

What is thought to have been the 
first notice of a meeting of this asso- 
ciation appeared in the Bangor Week- 
ly Register, January 8, 1818: 

The members of the Hancock Musical Asso- 
ciation are hereby notified that a special meeting 
will be held at the dwelling house of the Rev. 
Jonathan Fisher, in Bluehill, on the second 
Tuesday of February next at ten o’clock A.M. to 
take into consideration any matters which may 
interest the society. Signed by order of the 
president, Allen Gilman, secretary. 

No records have been found that 
would indicate the length of time that 
this old musical society existed, but it 
is believed that it was organized in 
1816. 

Whatever of glory was Maine’s in 
her achievements in music, previous to 
1820, she must share with Massachu- 
setts of which she was then a part, but 
on March 15, in that year, Maine was 
admitted to the Union; another star 
was placed in the firmament of blue in 
the banner of America; and here the 
real history of music in the State of 
Maine begins. 


CHAPTERS 


Tue Music or THE STATE OF MAINE 


First Pertop 1820-1835 


From north to south, from sea to sea, 

State of Maine, my State of Maine, 
Thy name shall ever honored be, 

State of Maine, my State of Maine, 
So guard it from all wrong decree, 
Let there be none from blot more free 
In this sweet land of liberty, 

State of Maine, my State of Maine! 


The Beethoven Musical Society 
of Portland 


N 1805 there had come to Portland 
from Dorchester, Mass., at the in- 

vitation of Rev. Elijah Kellogg, the 
young pastor of the Old Second Parish 
Church, a man to whom Portland owes 
more for its early musical progress than 
to any other. This was Edward Howe, 
a cultured gentleman and a thorough 
musician. His advent was unheralded 
and his announcement, in the Eastern 
Argus, of November 8 of that year, 
modestly set forth that he “Respect- 
fully informs his friends and the public 
that he has taken the store owned by 
Gen. Wadsworth, near the hay scales, 
[now Monument Square] where he 
proposes carrying on the upholstery 
business in all its branches viz; stuffing 
sofas, easy lolling and parlor chairs, 
etc.” 

On taking up his residence in Port- 
land Mr. Howe became choir leader 
and tenor singer at the Second Parish 
Church. Among his accomplishments 
he played the clarinet. He was an ar- 
dent admirer of Beethoven’s music 
and, having practiced under the lead- 
ing choral conductors of the Common- 
wealth, he was familiar with the music 
of the principal oratorios of the period, 
in a number of which he had appeared 


42 


as soloist in the tenor roles. His ability 
to read music, rapidly and accurately, 
won for him the respect and admiration 
of the musicians of his day, and he 
soon became the acknowledged leader 
in Portland’s musical affairs. So great 
an influence did he exert on the musical 
life of the city of his adoption that the 
beginning of Western Maine’s future 
greatness, musically, can be dated from 
the hour that he arrived to take up his 
residence in the Forest City, for in 
the year eighteen hundred and nine- 
teen, while the Province of Maine, in 
common with the other Provinces, Ply- 
mouth, Acadia, and Sagadahoc, : were 
still component parts of “The Royal 
Province of Massachusetts Bay,” 
through his efforts, there was organ- 
ized what was, without doubt, the first 
successful society for the serious study 
of sacred music ever formed at Port- 
land, and the first to bear the name of 
Beethoven in America. 

The Handel and Haydn Society, as 
has been noted, had been organized in 
Boston four years earlier and had 
given its first complete presentation of 
an oratorio in 1818. 

Not a few of the people who had 
come to Maine from Massachusetts 
had been affiliated with this associa- 
tion, and it was a natural consequence 
that an effort should be made, by these 
lovers of classical and sacred music, to 
organize a similar society in the prin- 
cipal city of Maine. 


New Hampshire had already made © 


a beginning in this direction and had 
a well directed association of amateur 
singers who gathered, annually, from 


a ee ees ee 


MUSIC OF THE STATE OF MAINE~— 1820-1835 43 


the various towns, at the assembling of 
the legislature, to give a choral concert, 
with instrumental and vocal ‘soloists 
from the principal music centers of 
New England. The study of the works 
of Handel, Haydn, Mozart, Beethoven 
and other great composers was earnest- 
ly undertaken by these seekers after 
musical knowledge. 

The influence of the Handel and 
Haydn Society was far reaching. Its 
unusually excellent performances of 
the works of the masters, the culture 
of its members, the music which was 
published through its aid, and under 
its patronage, all contributed to aug- 
ment the desire of members and officers 
of other musical societies to excel in the 
presentation of oratorio, and gave an 
impetus to the study of classical music 
which could have resulted from no 
other agency. 

In this year it was found that there 
were enough good voices in Portland 
to make it desirable to organize a cho- 
rus, especially as quite a number had 
acquired a sufficient knowledge of mu- 
sic to read it fairly readily. 

The society immediately began the 
study of sacred music in the higher 
forms. Following the lead of the Bos- 
ton society in its efforts to present a 
high order of music, they procured, 
from that body, some of its publica- 
tions, and other works published under 
their direction, and endorsed by them, 
and applied themselves to mastering 
the intricacies of the numbers contained 
in The Old Colony Collection of An- 
thems (in two volumes), and the first 
Volume of The Bridgewater Collection 
of Sacred Music, as well as several 
works of greater value which had been 
produced by the parent society in Bos- 
ton, under its distinguished director. 

While their performance may have 
lacked finish and the majority of their 
untrained voices may have sounded 


EDWARD HOWE, FOUNDER AND FIRST PRESIDENT OF 
THE BEETHOVEN MUSICAL SOCIETY, PORTLAND 
(1819), THE FIRST MUSICAL SOCIETY IN AMERICA 
TO BEAR THE NAME OF THE GREAT COMPOSER. 


harsh to a musical ear, it is said of 
their singing that “in accuracy of time, 
and in phrasing, they were entitled to 
much credit.” 

There must have been quite a few 
good voices among them, however, for 
a well-known local music critic of the 
period stated that the solo and duet 
numbers filled him with admiration. 

The first officers of the Beethoven 
Society were: President, Edward 
Howe; Vice Presidents, Joseph Pope, 
John Patten; Secretary and Treasurer, 
Charles Morris; Trustees, John Patten, 
Charles Morris and Hosea Ilsley. The 
officers were the same in 1823. 

One cannot but admire the courage 
of these enthusiastic people in their 
ambitious efforts to raise the standard 


44 


OLD PORTLAND ACADEMY. 
OF THE BEETHOVEN MUSICAL sociETY (1819). 
FROM AN OLD WOODCUT. 


FIRST MEETING PLACE 


of music in this then far away seaport 
town, which according to contemporary 
reports, was, at that time, in desperate 
need, musically. 

In order to get a clear understanding 
of the musical situation, at this period, 
one should go back, in imagination, to 
the beginning of the last century and 
try to picture some of the difficulties 
with which the inhabitants of old Fal- 
mouth, as Portland was formerly called, 
were struggling. 

They’had passed through many vi- 
cissitudes. Their town had twice been 
destroyed by the Indians (in 1676 and 
1690); in October, 1775, it had been 
bombarded by Captain Mowatt in con- 
sequence of which it had been nearly 
eliminated from the map; it had hardly 
begun to grow again when the embargo 


MUSIC AND MUSICIANS OF MAINE 


of 1807 followed by the war of 1812 
came on, during which, though Maine 
was at that time a part of the Royal 
Province of Massachusetts Bay, it had 
been left by the authorities of Boston 
unprotected and practically at the mer- 
cy of the enemy. The population could 
not have been over three or four thou- 


sand, judging by the census figures of © 


the nearest dates available. Only a 
small percentage of the people were 
interested in the study of art or music 
and they had, in fact, been able to find 
little time for the development of the 
finer talents with which they may have 
been endowed; but notwithstanding 
the conditions adverse to the cause of 
music, locally, there was much that 
came from the outside world to encour- 
age and inspire. 

The work of the Boston and New 
York societies was an inspiration in it- 
self, as well as an example, while the 
friendly rivalry, between the different 
musical societies of New England, did 
much to keep the interest from flag- 
ging. 

Nor did they lack for exceptional 
material to study and to enjoy. There 
were the works of Handel, almost in- 
comparable in their sublimity and gran- 
deur; of Haydn, inspiring to a degree; 
of Bach with their deep religious spirit; 
of the divine Mozart with their burning 
tenderness; and of Beethoven, greatest 
of all instrumental composers, of whose 
“Hallelujah, God’s Almighty Son” it 
has been written that, “In all sacred 


music it is difficult to find a choral 


number which can surpass it in maj- 
esty or power,” and for whom, with 
rare discrimination, the members had 
chosen to name their society. 

A few copies of “The Messiah” and 
“Creation” were owned by the mem- 
bers of the Beethoven Musical Society 
and selections from these works and 


= a4 Piney ™ sts 
a 


MUSIC OF THE STATE OF MAINE~— 1820-1835 


from Beethoven’s “Mount of Olives” 
were studied and sung in concert. 

Although the Napoleonic Wars, with 
their resulting embargoes, and the War 
of 1812, had completely paralyzed 
Portland’s industries and well nigh ex- 
terminated the business interests of the 
town, it had brought those, who had 
become foolishly extravagant through 
a period of nearly two generations of 
unexampled prosperity, to serious re- 
flection, and they had become disposed 
to direct their attention to things more 
durable than earthly riches, so that the 
serious study of classical music was 
eagerly undertaken by those musically 
inclined. 

The first place of meeting of the 
Beethoven Society was in the old Acad- 
emy Building on Congress Street, near- 
ly opposite the First Parish Church, 
on the corner of Temple Street, on the 
site of which was later erected the old 
Congress Hall in which the Colonial 
Theater came to be located. 

An advertisement of what is be- 
lieved to have been the first concert at 
which the society made an appearance 
may be found in the daily papers of 
Portland under the date of September 
7, 1819. 

The citizens of Portland are respectfully in- 
formed that a concert of Sacred Music will be 
given at the Meeting House of the Second Par- 
ish to-morrow Evening to commence at half 
past seven. 

Par. 
by Pucitta 
Chapple 


Strike the Cymbal 
O. Come Let us Sing 
Hailstone Chorus from Israel in Egypt 


By Masters P. and J. Lewis Handel 
Child of Mortality J. Bray 
Part II. 

Voluntary by Mr. Lewis 
Chorus Mozart 
Air Stevenson 
Hallujah Chorus 

by Masters P. & J. Lewis Handel 
Mount of Olives Beethoven 


Although the Beethoven Society is 
unnamed in this notice, it is a fact that 


45 


OLD SECOND PARISH CHURCH ON MIDDLE STREET, 
PORTLAND, WHERE THE FIRST CONCERTS BY THE 
BEETHOVEN SOCIETY WERE GIVEN (1819), AND 
WHERE A COMPLETE STANDARD ORATORIO WAS FIRST 
SUNG IN THE STATE OF MAINE (1837). PEN AND 
INK SKETCH MADE FROM AN UNFINISHED DRAW- 
ING BY GEORGE A. GWYNN, A PORTLAND ARCHI- 
TECT (1858), WHO LIVED OPPOSITE THIS HISTORIC 
EDIFICE. ORIGINAL DRAWING LOANED BY WILLIAM 
W. MITCHELL, 


there was at this time no other musical 
organization in Portland, and from a 
comparison of the choral numbers per- 
formed on this occasion, with those 
given on the society’s later programs, 
it is easy to believe that this was in 
reality their first public performance. 
It is, indeed, a significant coincidence 
that the final number performed at 
this concert was by the music master 
for whom the society was named. 

The Mr. Lewis who played the organ 
voluntary on this program was the mu- 
sic teacher who had taken up his resi- 
dence in Portland some years before, 
and the Masters P. and J. Lewis were 
his accomplished young sons. 


40 MUSIC AND MUSICIANS OF MAINE 


“The Meeting House of the Second 
Parish,” in which this, and several sub- 
sequent entertainments in which the 
Society took part, was located on the 
corner of Middle and Deer Streets, and 
between Deer Street and Moose Alley 


(afterwards Chatham St.). In 1788, 


when it was opened for public worship, 
it was just a plain two-story building 
with no spire or other ornament, but 
in 1793 an architecturally graceful 
clock-tower, containing a bell, was add- 
ed, and it then became one of the most 
attractive buildings in the city. Its first 
organ was a small one, said to have 
been built by John K. H. Paine, but in 
1820 “a new and more powerful organ” 
was purchased and placed in the build- 
ing, and this the Beethoven Society 
was privileged to enjoy. The new or- 
gan was described as containing “five 
stops, a principal open Diapason, stop 
diapason, twelfth and fifteenth” and it 
probably had a single keyboard. It was 
not long before the Society found it 
necessary to have a hall it could call 
its own, and the members fitted up a 
room over the Bank of Portland for 
this purpose; and here they sang their 
first program on which the name of the 
new organization appeared, but though 
no copy of it seems to have survived the 
ravages of time, to the local journals 
of the day this generation is indebted 
for the information that in this new 
hall “the Beethoven’s performed a few 
pieces of Sacred Music selected from 
the works of Handel, Beethoven, Pur- 
day and others on the evening of April 
26th, 1820,” just twenty-seven days 
after Maine had been admitted to the 
Union as a State; so at this concert 
was sung at least one number com- 
posed by the Michael Angelo of Music. 

The Bank of Portland, a three-story 
brick building, large for that time, 
should not be mistaken by local his- 
torians and others for that of the Port- 


land Bank of which John Abbott, Vice 
President of the Handel Society of 
Maine, was, for a time, cashier. The 
Portland Bank was a wooden building, 
formerly occupied as a dwelling, but 
later by that institution as a banking 
house and was thus used up to the 
time of its being removed (in 1806) to 
make room for the substantial brown 
stone front building which came to be 
occupied by the Canal National Bank. 

Another concert by the society fol- 
lowed six weeks later, and four days 
after this concert the services of the 
Beethovens were given for the benefit 
of one of Portland’s Worthy Charities, 
the Maine Charitable Mechanics As- 
sociation. 

In the fall of 1820 the Beethovens 
again moved into newer and probably 
still more commodious quarters. This 
time back to the Academy Building on 
Congress Street, the hall of which had 
an audience capacity of less than two 
hundred. 


Concerts of sacred music were given 


by the Beethoven Musical Society on. 


the evenings of February 16, March 9, 
April 13 and May 4 of 1821. 

Although young in performance, the 
fame of the Beethoven Society of Port- 
land had already begun to be spread 
abroad, as witness the following refer- 
ence to the foregoing concert in the 
Euterpeiad (of Boston) of May 12, 
1821, which also indicates the growing 
radius of musical activities, in the early 
part of the nineteenth century, in 
America: 


It is headed, Musical Excitement. 


During the last week we noticed the following 
Musical Performances that were to take place 
in the present month of May. 

A Concert of Sacred Music, by the Beethoven 
Society, at Portland, (Me.) a grand Oratorio at 
Augusta, (Geo.) under the direction of Mr. 
James Hewitt, formerly of Boston; a select Ora- 
torio at Providence, by the Psallonian Society, 


Mier THE STATE OF MAINE— 1820-1835 47 


under the direction of Mr. O. Shaw; a Grand 
Concert of Music, for the benefit of the musical 
fund at Philadelphia; the Grand Oratorio of 
“The Creation” by the Harmonic Society at 
Baltimore; a performance of Sacred Music, by 
the New Hampshire Musical Society, at Han- 
over, (N. H.) and in this town a Concert of In- 
strumental and Vocal Music for the benefit of 
Mr. Ostinelli; and the Public Oratorio by the 
Handel and Haydn Society of this Metropolis, 
for the benefit of The Howard Benevolent So- 
ciety. 

In October, 1821, the Society pre- 
sented an ambitious program at a con- 
cert which was repeated by request 
about twenty days later. At these two 
concerts were sung Beethoven’s Recita- 
tive, “How the Work of Man’s Redemp- 
tion” and his “Hallelujah Chorus.” 

No other announcement of a con- 
cert by the Beethoven Society ap- 
peared in the press of that year but in 
the first four months of 1822 four con- 
certs of sacred music were given. 

In October, 1822, the Beethovens were 
assisting performers at a concert given 
by the Ostinellis at the old First Parish 
Church, in which an organ had been 
installed in March or April of that 
year. Following is the announcement: 

Mr. and Mrs. OSTINELLI have arrived in 
town and on WEDNESDAY EVENING, the 
23d inst, will give an Oratorio in the Church of 
the Rev. Dr. Nichols. On this occasion the or- 
gan will be played by Mrs. Ostinelli. Mr. Osti- 
nelli will lead the orchestra and introduce the 
solos on the violin. Members of the Beethoven 
Society and other Amateurs will assist in the 
performance. 


Oct. 22, 1822. 


Mr. and Mrs. Ostinelli who were 
destined later to become closely identi- 
fied with music in Maine were musi- 
cians much sought after in the early 
twenties and the coming to Portland of 
this noted couple was no small event 
in music circles of the day. 

A contributor to the Boston press in 
1820 said of Mr. Ostinelli’s playing at 
a concert there, 


The exertions of this truly scientific and ac- 
complished musician, were never more conspic- 
uously exhibited, than on Thursday Evening, at 
Boylston Hall. The selections for performance 
were chaste and well arranged, the applause re- 
sounding from every part of the Hall, was re- 
iterated in thundering peals. We have not 
room, at this late hour, to particularize the 
several masterly scintillations of genius, fancy, 
and taste, and can only add, 

“He wak’d the soul by tender strokes of art, 

He showed his genius, and he’s won a heart.” 

Mr. Ostinelli was for a considerable 
period the first violinist of the Handel 
and Haydn Association of Boston. 

In the early days of that society the 
president of the association was sup- 
posed to act as the conductor, but the 
chorus and orchestra invariably fol- 
lowed the time indicated by the leading 
violinist. Signor Ostinelli was a born 
musician and was recognized as one of 
the leaders in advancing the cause of 
music not only in Boston but in Amer- 
ica, 

Mrs. Ostinelli who, before her mar- 
riage, was Miss Hewitt of Boston, was 
at that time the organist of the Handel 
and Haydn Society of that city, and 
later became the organist of the First 
Parish Church in Portland. 

Other concerts by the Beethovens at 
their hall in the Academy Building fol- 
lowed. On December 10, 1822, a con- 
cert was announced under the caption: 
Select Oratorio. 

This was later followed by announce- 
ments of concerts which were to be 
held in January, February and March, 
1823. 

On January 1, 1824, the Beethoven 
Musical Society was legally incorpo- 
rated by a special Act of Legislature. 

After occupying the hall in the Acad- 
emy Building for several seasons the 
society made a contract with a Mr. 
Gilbert, who had built a new brick 
block on Middle Street, to occupy a 
portion of that building, and purchased 


48 MUSIC AND MUSICIANS OF MAINE 


a small, but remarkably sweet toned 
organ of its own. This instrument, 
made by Clementi in London, was used 
for the first time in a public perform- 
ance at the dedication of their new hall 
in April, 1824. 

The following notice is of interest, 
not only because it shows the progress 
of the society in its efforts to promote 
musical appreciation, but because it 
introduces for the first time in Portland 
daily papers editorial criticism of a mu- 
sical program. 


On Wednesday evening last, this Society gave 
their first Oratorio in their new Hall in Gilbert’s 
Building,—a room very spacious and convenient, 
and handsomely fitted up for the purpose — and 
containing a most excellent organ, of great va- 
riety and sweetness of tone. A _ respectable 
number attended, though the storm had ren- 
dered the streets extremely unpleasant. We 
doubt not, at the next oratorio, should the eve- 
ning be mild and fair, a full house will give ani- 
mation to the laudable exertions of the Society. 
They deserve every encouragement; and it can- 
not be doubted they will command attention and 
liberal patronage. The pieces of music per- 
formed were judiciously selected and great ac- 
curacy in time was observed by all. Most of 
the solos were sung with much taste, delicacy 
and power. It may at this time be proper, re- 
spectfully to intimate that a great portion of the 
company assembled on these occasions, would 
be highly gratified with occasional voluntaries 
on the organ by Mr. Nolcini and Mr. Allen, at 
certain intervals during the evening. This 
would give relief to the vocal performers and 
display the powers of the instrument to much 
greater advantage than when played as an ac- 
companiment in solos and choruses. To per- 
sons whose hearts and passions are rightly at- 
tuned, an evening spent at one of these oratorios 
is adapted to make good impressions and give 
pleasure, of a higher and more exalted nature 
than can be found at those places where it is 
often so eagerly pursued. We hope the taste 
and judgement of the Ladies and Gentlemen of 
this town will be manifested by a disposition to 
enjoy the “concord of sweet sounds” as often 
as possible, while they will have at the same 
time the satisfaction of reflecting that they con- 
tribute something to the assistance of those who 
are engaged in a good cause, and pursuing a 
praiseworthy object. 


April 17, 1824. 


The Mr. Allen to whom reference is 
made in this account of the concert 
was, without doubt, Silas Allen, who 
was at about this time in partnership 
with Charles Nolcini. Their rooms 
were on Middle Street. His name does 
not appear in any lists of members of 
the society, but it is apparent that he 
played the society’s organ on occasion, 
and was not unlikely a member of the 
orchestra. 

Their next announcement contains 
a mystifying statement which so far as 
is known has never been explained. 

The Beethoven Society respectfully inform the 
public that they intend giving their last Oratorio 
(for the present season) on Friday evening next 
to commence at half past seven o’clock. The 
Society’s organ will be played notwithstanding 
any report to the contrary. 

Cuartes Morris, Sec’ry. 
June 2, 1824. 

Had some note of discord been struck 

in the hitherto harmonious progress of 


the society? Was there a controversy 


over the question as to who should con- 
duct or accompany the singing on this 
occasion or had some one taken the 
key to the instrument and refused to 
allow the organ to be played unless the 
opposing faction came to his views, or 
had the sheriff served notice that the 
organ should not be played until cer- 
tain debts of the Society had been pro- 
vided for? May be the real reason was 
none of these. There appears to be no 
reference whatever to the incident in 
the newspapers of the day and it must 
be left. to the readers’ imagination to 


guess the solution of this musical mys-_ 


tery of more than a century ago. 

In January of the following year 
members of the Beethoven Society 
gave a concert in the First Parish 
Church of Portland, and were favored 
with the following review by a local 
music critic: 


On Wednesday Evening, Jan. 5th a Concert 
was given by the Beethoven Society, which was 


ee ee a a a ee 


MUSIC OF THE STATE OF MAIN E— 1820-1835 49 


attended by a more numerous and respectable 
audience than has been observed at any public 
exhibition of the kind we recollect to have wit- 
nessed in this town. The pieces for the eve- 
ning’s entertainment were judiciously selected 
and calculated to meet that variety of taste 
which may always be expected in a numerous 
company assembled on such occasions. The per- 
formances were in a style of exactness and ex- 
cellence both as to time and manner, that called 
forth the most decided approbation from the 
more scientific, while they afforded an unusual 
degree of gratification to all who have a taste 
for refined enjoyments. 

We are much pleased to find the efforts of this 
respectable Society which have been so long and 
so untiringly exerted to cultivate — we may al- 
most say to create—among us a taste for church 
music of a pure and elevated style, have not 
only become crowned with a high degree of suc- 
cess as it respects their own improvement but 
that these disinterested and perservering exertions 
are justly appreciated by persons of judgement, 
character and influence in society. Such appro- 
bation and encouragement must be highly grati- 
fying to the Society and an animating spring to 
a more invigorated pursuit of their favorite ob- 
ject;— since they may be sure that the appro- 
bation, as well as substantial patronage of any 
intelligent community will be liberally extended 
to them, whenever an appeal is made in their 
behalf. 

The good effects of the advancement of this 
Society in their cultivation of musical taste, are 
not confined to their own circle, nor to the com- 
panies by whom their exhibitions are from time 
to time listened to;— since the members come 
from various religious societies and cannot fail to 
carry back with them and disseminate extensive- 
ly a more correct and elevated standard of sacred 
music. In every point in which the subject is 
considered, we cannot but urge them to per- 
serverance and wish them all reasonable success 
and abundant patronage. 

Advertiser, Jan. 12, 1825. 


The society was not without an oc- 
casional diversion in the way of recre- 
ation. There is a record of its holding 
at least one summer outing when, on 
July fourth, 1825, the members went 
to Diamond Cove on Hog Island (now 
Diamond Island) in Casco Bay for a 
holiday, where delightful hours were 
spent in strolling through the woods, 
visiting the Indian camps at Indian 
Cove, carving their initials on the old 


beech trees and enjoying the natural 
beauties of the island and where “at 
noon a chowder was partaken in the 
open air.” 

The following season opened on No- 
vember 25 with a postponed concert, 
the notice of which was signed by a 
new secretary, Franklin Knight. 

At the dedication of the new First 
Parish Meeting House, which took 
place on Wednesday, February 8, 1826, 
the society gave such an excellent ren- 
dition of its numbers that the following 
appreciation was recorded in the Port- 
land Advertiser, February 26. 

It ought not to be expected that in noticing 
events of this high religious import, occasion 
should be taken to bestow praise on any indi- 
viduals who may have contributed in any man- 
ner to the devotional exercises of the day. It 
may not, however be considered out of place to 
remark, that connected with the powerful, ener- 
getic, and effective addresses to the heart and 
conscience which were comprehended the main 
part of the religious services; the musical per- 
formances by the Beethoven Society, were of a 
character to give strong force and intensity to 
the feelings naturally arising at such a religious 
assembly. 

The organ which since the finishing of the new 
church has been set up and put in excellent tone 
by Doct. Bourne of Kennebunk, was on this oc- 
casion played by Mr. Nolcini with great taste 
and exactness of execution. 

The music for the hymns, chorus and duets, 
it will be observed, were of his composition. It 
was pronounced by competent judges to be 
highly creditable to his well known professional 
talents. 


In addition to this there was this un- 
signed “communication” in the same 
issue of that paper: 

The music was all that could have been de- 


sired. ‘The Parish are much indebted to the 
Beethoven Society who cheerfully contributed 


their powers of harmony to gladden the day and 


enrich its entertainments. The organ seemed 
conscious of the occasion, under the skilful and 
rapid touches of Mr. Nolcini. Among other 
lofty pieces of music performed, two hymns were 
sung, the former of the two was written by Dr. 
Nichols. 


It is perhaps needless to state that 
Dr. Nichols wrote only the words to 


50 MUSIC AND MUSICIANS OF MAINE 


this anthem. The music was composed 
by Mr. Nolcini. 

Charles Nolcini did not, however, 
confine himself entirely to church mu- 
sic for among his compositions are pre- 
served a number of pieces in lighter 
vein in sheet music form. In a volume 
in the Boston Public Library may be 
found: | 

“The Grass Hopper’s Waltz,’ composed by 
Nolcini, Boston. Published by Henry Prentiss, 
No. 33 Court St. c. 1839. 3pp. “The subject 
of this composition was derived from the mo- 
tions of the insects whose name it bears.” It 
has a decorated cover of two large grasshoppers 
with the dome of the State House in the dis- 
tance; “Les Sans Soucis, Galopade;” composee 
par Nolcini 1pp. 

A march dedicated to new beginners; com- 
posed for the piano forte by Charles Nolcini. 
Op. 1 Boston, Published for the author by T. 
Spear, 21 School St. 3pp. 

Charles Nolcini was organist for a 
time at the Second Parish Church as 
well as of the First Parish, and a teach- 
er of Music and French and Italian 
languages. He was an Italian by birth, 
“a Musician of skill and rare taste,” 
and a composer of more than local 
reputation. At the old First Parish 
Church he played as early as 1821 and 
continued as organist in the new church 
building until about 1826. He later be- 
came organist at King’s Chapel, Boston. 

He married a Miss Murray, “a mis- 
chievous, though talented young lady,” 
according to John Greenleaf Whittier, 
who indited a poem to her over his 
autograph. Mrs. Nolcini afterwards 
taught music in Augusta. Prof. Nolcini 
was said to have been an entertaining 
companion and much sought after on 
account of his genial personality. 

It should be noted that it was in the 
old First Parish Church a wooden 
building which had been moved back 
to make room for a more pretentious 
and durable stone structure mentioned 
above, that the first organ owned and 


used by the Parish had been placed. 
Its purchase had been authorized in 
1821 when it was selected by Hon. 
Prentiss Mellen at the request of the 
Parish, at a cost of three hundred and 
fifty dollars. 

The singers up to this time, it is be- 
lieved, had been accompanied only by 
the clarinet, violoncello and bassoon. 

At the time of the building of the 
New Stone Church the organ was re- 
moved from the “Old Jerusalem,” as 
the wooden structure came to be known, 
and placed in the new house of wor- 
ship. It was this organ which was played 
at the dedication of the New Stone 
Church, and to the strains of which 
the Beethovens raised their voices in 
praise. 

This organ served the parishioners 
of the new church until 1853 when it 
was replaced by a more modern one. 

The Beethovens gave five concerts 
in all during the season of 1825-26. 

What is believed to be the last no- 
tice of record of any concert by them 
is found in the Portland Advertiser of 
April 11, 1826, and reads as follows: 


ORATORIO 


by the Beethoven Musical Society, the 4th for 
the season will be given to-morrow evening, 
Wednesday, 12th inst. at Beethoven Hall com- 
mencing at 7 o'clock. Holders of season tickets 
are requested to leave their tickets with the 
door keeper. Tickets for the evening may be 
had at the several bookstores and at the door. 
Lower floor 50¢. Gallery 25¢. 


Apr. II F. Knicurt, Sec’ry. 


And so the swan song of the historic 
Beethoven Musical Society was sung, 
but not before it had blazed the trail 
for musical festivals to follow which 
would surpass in grandeur the most 
imaginative dreams of the members of 
this notable society of more than a 
hundred years ago. 

On the disbanding of the Beethoven 
Society Mr. Howe purchased their or- 


MiGerOrOF THE STATE OF MAIN E— 1820-1835 51 
$$$ eee 


gan and retained possession of it until 
1866 when it was burned with the 
house in which it stood, in the great 
fire of that year. It is said that Mr. 
Howe generously assumed and paid 
the debts of the society. 

While many of the concerts by the 
Beethoven Society were announced as 
“Oratorio,” it is not believed that the 
society ever performed a complete 
standard oratorio, but, rather, selec- 
tions from a number of them. 

In 1826, the year in which it is said 
the society disbanded, John Patten was 
serving as President of the Beethoven 
Musical Society, Edward Howe and 
Joseph Pope as Vice Presidents and 
Franklin Knight as Secretary and 
Treasurer. 

Looking over the list of great com- 
posers from whose works the selections 
on these programs were chosen it is 
interesting to note those who were con- 
temporary musicians of the day, and 
what of their works had been published 
and used here. 

While Handel, Haydn, Bach and 
Mozart were of a generation gone, as 
also were Gluck, Piccini and others, 
Beethoven, who, at the time of the or- 
ganization of the society which had 
taken his name, had already completed 
his famous “Seventh Symphony,” was 
at the apex of his career. He was also 
living, it may be noted, at the time the 
society disbanded (1826). Franz Peter 
Schubert had begun composing in 1812, 
though his first songs were not pub- 
lished until 1821. Vincenzo Bellini had 
not begun writing his operas, so ‘“‘Nor- 
ma,” “1 Puritani” and “La Sonnam- 
bula” were still in embryo. Carl Von 
Weber was still unknown to fame, 
though it came to him two years later 
when “Der Freischutz” was produced; 
but it is hardly to be thought that any 
New England choral society of that 
day would have undertaken the works 


of Bellini and Von Weber, even had 
they lived in an earlier period, as the 
singing of operatic selections by good 
Christian people was, at this time, al- 
most unheard of on this side of the wa- 
ter. Indeed, the people of this period 
were as a whole deeply religious and 
most of the churches positively forbade 
the singing of those songs which were 
not for the glory of God. 

Then there was the galaxy of Euro- 
pean artists whose fame had already 
crossed the Atlantic. News of the en- 
thusiastic receptions that were being 
given Ignaz Moscheles (afterwards 
teacher of Mendelssohn and Thalberg), 
in Germany and Paris in 1819 and 
1820 was brought over by packet to 
New York and Boston and found its 
way to Portland by stage. Mayerbeer, 
who had begun composing operas in 
1812, had produced six of them from 
1820 to 1824, though “Robert Le Di- 
able” did not appear until 1831, nor 
did “Les Huguenots” (that opera which 
created a furor seldom accorded the 
work of any artist musician) until 
1838. Paganini had already excited the 
wonder of the world by his masterly 
playing of the king of instruments. 

Rossini had made his first public ap- 
pearance as a composer when in 1810 
his first opera was performed. (“Tan- 
cred” had been produced in 1813, and 
“Otello” in 1815, but “William Tell” 
was not produced until 1829.) Vogler, 
immortalized by Browning, was still 
the talk of the world as an organist, 
though he had died five years before 
the organization of the Beethovens. 

One can get some idea of the music 
we are privileged to enjoy, but which 
the Beethoven Society and others of 
this period had to forego when it is 
known that in the year 1820 Mendels- 
sohn was but eleven years old, Johann 
Strauss but sixteen, R. Schumann but 
ten, Franz Liszt but nine, Flotow but 


52 MUSIC AND MUSICIANS OF MAINE 


eight, Wagner and Verdi but seven and 
Gounod only two years of age, while 
Clara Schumann and Pasdeloup (the 
afterwards famous Parisian conduc- 
tor), were still in their first year of 
babyhood. Jenny Lind, whose fame 
later encircled the globe, was not born 
until the year in which Maine became 
acetate: 

In these days when a large percent- 
age of all choruses runs to femininity it 
is interesting to note that considerably 
more than half of the members of the 
Beethoven Musical Society were of the 
sterner sex. 

The following list contains the names 
of the members of the Beethoven Mu- 
sical Society from the date of its begin- 
ning to its close, although they were 
not all original members nor were they 
all members at the same time. No list 
of the original members is now avail- 


able, it is believed. 

Sopranos: Harriet Bagley, Priscilla H. Bart- 
lett, Martha Beckett, Mary Bryant, Parmelia 
Baker, Mary Ann Bartlett, Eliza Ann Capen, 
Betsey Carter, Sarah Carter, Sally Clary, Sarah 
Dorrance, Charlotte Freeman, Hannah Hum- 
phrey, Harriet Jones, Mary Lambert, Sarah Low, 
Elizabeth Noyes, Harriet Plummer, Louisa Pol- 
leys, Harriet Tucker, Abigail Williams, Mrs. 
J. F. Weeks. 

Altos: Almira Hale, Rebekah Hale, Ferdinand 
I. Ilsley, Frances Richards. 

Tenors: John W. Clark, James Dresser, Na- 
thaniel Ilsley, Francis L. Ilsley, Edward T. In- 
graham, James Kimball, Jeremiah Kimball, 
Charles H. P. McLellan, William Small, Charles 
Tibbetts. 

Basses: Ira Berry, Leonard Billings, Dexter 
Brewer, William Davis, Oliver Everett, Isaac 
Gage, John B. Hudson, Hosea Ilsley, Benjamin 
Isley, Joseph H. Kellogg, Franklin Knight, Pe- 
ter Lunt, Frederick Merrill, Charles Morris, 
Charles Monroe, William B. Sewall, Ebenezer C. 
Stevens, Stephen Swett, Daniel Smith, John 
Trowbridge, Loring Varney, Joshua F. Weeks, 
Joseph B. Walton. 

Orchestra: William Knott, 1st violin; John 
Patten, 2nd violin; Joseph Pope, violoncello; 
Edward Howe, clarinet; David Brewer, bassoon; 
James D. Hay, flute; A. H. Jenks, flute; Henry 
Poor, flute; Nathaniel Deering, flute; Charles 
Nolcini, organist. 


These hardy pioneers in the study of 
oratorio, and other forms of sacred and 
classical music in Maine, are worthy of 
more than passing mention. The name 
James Dresser among the list of mem- 
bers means nothing to the reader to- 
day, but is it not something to know 
that James Dresser was more than a 
name, that he had a “fine tenor voice” 
and that his days were spent in the 
ropewalk where, 

In that building, long and low, 
With its windows all a-row, 
Like the port-holes of the hulk, 
he, with his fellow employes, did, like 


Human spiders, spin and spin 
Backward down their threads so thin 
Dropping, each a hempen bulk, 


while, 

At the end, an open door 

Squares of sunshine on the floor... 

Lit the long and dusky lane 
as, perhaps, like the potter in Keramos, 
he sang as he worked and maybe 

at times, 

Whistled a tune between the rhymes, 

As a melodious interlude. 
_ This, then, is the excuse for present- 
ing here such details as have been ob- 
tainable, from authentic sources, of the 
members of the chorus of this musical 
society which was already in existence 
when Maine became a state. Greater 
interest will attach to these names 
when it is known that from the ashes 
of the Beethoven Society sprang the 
Portland Sacred Music Society, as lat- 
er, from the Sacred Music Society was 
developed the Haydn Association, from 
the members of which, in the process 
of evolution, came forth the nucleus 
of the great Maine Festival Chorus, 
which for thirty years was the chief 


annual musical attraction of the State. © ] 


Edward Howe, the founder and first 
President of the Beethoven Musical 
Society, and one of its incorporators, 
was not only held in high regard be- 
cause of his musical ability, but he en- 


MUSIC OF THE STATE OF MAINE— 1820-1835 53 


joyed the confidence of the commercial 
men of Portland as well. He was born 
in Dorchester, Mass., in July, 1783. 
At the age of seventeen he left his fa- 
ther’s brick yard in Boston and, in 
1805, came to Portland. He served the 
city of Portland for a time as a mem- 
ber of the Board of Aldermen, and was 
largely instrumental in forming the 
Portland Gas Light Company of which 
he later became President and was for 
many years one of its Board of Di- 
rectors. His store, for the greater part 
of the time, was located at No. 5 Mer- 
chant’s Row, which curiously enough 
later became the site of the Portland 
Gas Light Company’s office. He resid- 
ed on Cross Street for more than fifty 
years, until his house burned in the 
fire of 1866. For more than seventy 
years he was a Mason. It was said of 
him that “his charities were hearty and 
liberal.” There were but six older Ma- 
sons in the country at the time of his 
death, which occurred in January, 1877. 

John Patten, Vice President, and 
later President of The Beethoven Mu- 
sical Society, and one of its incorpora- 
tors, was a member of the school com- 
mittee and an innholder, and resided 
at what was then the corner of Middle 
and Beaver Streets (Free and Brown), 
He was one of the most active mem- 
bers of the society, rarely, if ever, ab- 
sent from its meetings. He is listed as 
“second violin,’ though his being the 
only violin in the orchestra for most of 
the time he oftener played first violin 
part. He is said to have “played 
smoothly and with good intonation.” 
He was born in 1788 at Biddeford, on 
the farm on the Biddeford Pool Road 
which bears the family name. His 
daughter, Caroline, who later became 
the wife of E. Reddington Mudge of 
Boston, was “an accomplished per- 
former on the violin” and had “a voice 
which gave much pleasure.” ‘Two other 


daughters were Mrs. Abigail Ward, who 
resided in Saco, and Mrs. Augustine 
Haines, who lived for a time in Port- 
land, while a son, Charles R. Patten, 
conducted a Commercial School in 
Saco. Mr. Patten was a genial and 
companionable man, and one of the 
most popular bonifaces of his day. He 
died in Portland in 1834. 

Joseph Pope (1788-1852), a Vice 
President of the society, was a Notary 
Public and the Town Clerk. He was 
also an officer in the Cumberland Bank 
on Exchange Street and had a store at 
No. 4 Mussey’s Row for the sale of 
English and American manufactured 
goods. He resided on the corner of 
Gray and State Streets. He played the 
violoncello in the orchestra. 

The old cello played by Mr. Pope 
has long been in the possession of John 
T. Fagan, Esq., of Portland. 

Charles Morris (1792-1840), the first 
Secretary of the society, and also one 
of its incorporators, was a member of 
the School Committee. He was one of: 
the firm of Morris and Haines on 
Maine Street. His house was located 
on Green Street (later changed to For- 
est Avenue). 

Hosea Ilsley, one of the original di- 
rectors of the society, lived on Cum- 
berland Street and afterwards on High 
Street. He had a wonderfully rich and 
powerful voice and was the society’s 
principal bass soloist. He was born in 
Newbury in 1799, and was the son of 
Joseph Ilsley. He came to Portland in 
1807 to live with his uncle for whom 
he was named. He learned the painter’s 
trade and became associated with Ste- 
phen Noyes under the firm name of 
Noyes and Ilsley. He was a member 
of the Second Parish Choir with Ed- 
ward Howe. He was prominent in poli- 
tics, represented Portland in the legis- 
lature of 1838 and later, on moving 
from Portland, became Mayor of Chel- 


54 MUSIC AND MUSICIANS OF MAINE 


sea and held many important offices 
under State and Federal authority. He 
spent five years in revising and copying 
the Colonial Records in Massachusetts. 
He married Abigail Neal in 1818, and 
after her death married Abigail Wil- 
liams in 1826. He was the father of 
twelve children. His brother Joseph 
Ilsley was long a resident of Portland. 
He died in Chelsea in 1887. 

John W. Clark was a cabinet maker 
and resided at Church Street. 

James Dresser was a cordwainer. He 
was employed at the rope walk on 
Maine Street (Congress Street) near 
Stroudwater and lived on Fore Street. 
He had a fine tenor voice, and, as a 
soloist, was very popular with his au- 
diences. He died in 1862 at the age of 
fifty-five years. 

Jeremiah Kimball, one of the incor- 
porators of the society, was a grocer at 
No. 3 Columbian Row, Middle Street, 
and lived on Cross Street. He died in 
1848 at the age of forty-six years. 

James Kimball was a grocer on Cen- 
ter Street and lived on Court Street 
(Exchange). He died in 1855 at the 
age of fifty-five years. 

Nathaniel Ilsley (Nathan) was a cab- 
inet maker at Union Street and resided 
on Mayo Street. He was born in 1781 
and died in Chelsea, Mass., in 1870. 

Benjamin Ilsley, Jr. (1795-1880), 
was a selectman, a surveyor of ma- 
hogany, a cabinet maker and had a 
shop on Union Street. He lived at the 
corner of High and Danforth, and was 
President of the Maine Charitable Me- 
chanics Association. 

Ferdinand I. Ilsley, one of the young- 
er members of the society, having 
joined when about seventeen years of 
age, was the son of Nathaniel IIsley. 
He is said to have had “a fine alto 
voice,” and became a teacher of vocal 
and instrumental music in Newark, 
New Jersey. 


Edward T. Ingraham was a grocer 
and had a store on Fore Street. He 
lived on Congress Street and died in 
1828. 

Charles Tibbetts, a dealer in boots 
and shoes, was born in Dover, N. H., 
in 1800 and died in Portland in 1883. 
He is said to have had “a pleasing ten- 
or voice and pretty good taste in mu- 
Sin 

William Small (1786-1879) was a 
cabinet maker at Mr. Haskell’s on Con- 
gress Street on which he also lived. 

Charles H. P. McClellan was also 
one of the younger members of the 
chorus. In 1830 he became a practising 
physician with an office on Federal 
Street and later moved to Massachu- 
setts. 

Oliver Everett (1766-1863), one of 
the incorporators of the society, was 
one of the grocery firm of Everett and 
Steele on Maine Street near Green and 
lived on Free Street. 

Leonard Billings (1793-1872) was for 
many years connected with the man- 
agement of the steamer that ran be- 
tween Boston and Portland. 

Joshua F. Weeks (1793-1875) was a 
member of the grocery firm of Weeks 
and Freeman on Hay Market Row, 
Middle Street, and lived on the corner 
of Fore and King Streets (India). 

Franklin Knight, Secretary and 
Treasurer of the society in 1826, was 
one of the grocery firm of Knight and 
Hunt and was a dealer in wood on 
Central Wharf. He lived on Federal 
Street. 

Joseph B. Walton was proprietor of 
a shoe store on Union Street and lived 
on Federal Street. He died in October, 
1831. 

John Trowbridge was a butcher on 
Jefferson Street (Brackett). 

Peter Lunt was a grocer on Middle 
Street near Plumb (Plum). He lived 


on the corner of Cumberland and 


MUSIC OF THE STATE OF MAINE-— 1820-1835 55 


Franklin and died in 1861, at the age 
of seventy-four years. 

Charles Monroe was another of the 
younger members of the society. In 
1830 he was in business as a trader 
with an office at the head of Central 
Wharf. He later moved to Medford, 
Mass. 

Stephen Swett was Deputy Sheriff 
and Coroner and lived on Congress 
Street. He died in 1849 at the age of 
sixty-nine years. 

Ebenezer C. Stevens (1794-1865) 
was a tailor in Merchants Row on 
Middle Street and resided on Wilmot 
Street. 

Isaac Gage kept a boarding house 
on Middle Street near the Second Par- 
ish Meeting House. He died in 1826 
at the age of sixty years. 

Daniel Smith was a joiner and lived 
on Cumberland Avenue. Little is known 
of him except that he was one of the 
society’s bass singers. 

Ira Berry (1801-1891), one of the 
publishers of the Portland Daily Ad- 
vertiser, WaS a music critic and author 
of A Sketch of the History of the Bee- 
thoven Society of Portland, published 
in 1888. He was born in Durham, N. 
H., and died in Portland. He was the 
son of Stephen Berry and was for 
many years the Grand Secretary of the 
Masonic Grand Lodge of Maine. 

William B. Sewall (1782-1869) lived 
on State Street. In 1827 he was prac- 
tising law in an office in the Cumber- 
land Bank Building. 

John B. Hudson (1799-1881) was a 
painter by trade and lived on Church 
Street. 

Loring Varney was a cabinet maker 
on Court Street and lived on the corner 
of King and Fore Streets, afterwards 
on Silver Street. Mr. Varney was a 
police officer, and town constable. He 
died in 1847 at the age of fifty-four 
years. 


IRA BERRY, EARLY MUSIC CRITIC IN PORTLAND AND 
CHARTER MEMBER OF THE BEETHOVEN MUSICAL 
SOCIETY. 


Joseph H. Kellogg died in Septem- 
ber, 1870, aged sixty-four years. 

Dexter Brewer was a grocer in part- 
nership with his brother David. Their 
store was located at 1 and 2 Market 
Square (Monument Square), at the 
corner of Center Street. He later be- 
came proprietor of the Brewer House 
in Stroudwater. 

James D. Hay, one of the flutists in 
the Beethoven orchestra, was organist 
at the Second Parish Church in 1821 
and a music teacher by profession. 

Henry Poor, one of the flutists in the 
orchestra, was proprietor of a dry- 
goods store at No. 3 Union Row, Mid- 
dle Street. He’ lived on Hampshire 
Street. 


56 MUSIC AND MUSICIANS OF MAINE 


Nathaniel Deering (1791-1881), a 
flutist in the Beethoven Orchestra, was 
the head of one of the old Portland 
families. He was a commission mer- 
chant with an office on Long Wharf, 
and lived on Cumberland Avenue. He 
was the son of James Deering and was 
a well-known humorist and magazine 
contributor of his time, as well as a 
poet and playwright. 

David Brewer, bassoon player in the 
Beethoven Society Orchestra, was the 
senior partner of the firm of David and 
Dexter Brewer. 

A. H. Jenks, a flutist in the Beetho- 
ven Orchestra, was employed as a 
clerk at T. Fletchers’ store on Fore 
Street. 

William Davis in 1817 conducted a 
singing school in Portland. 

Francis L. Ilsley, son of Nathaniel 
Ilsley, became a teacher of vocal mu- 
sic. In 1834 he taught in Portland 
where he lived on Franklin Street, but 
later moved to New York where he 
continued in his chosen profession and 
died in that city. 

Of Frederick Merrill nothing defi- 
nite is recorded. 

Harriet Bagley was believed to have 
been one of the members of the Bee- 
thoven: Society. She became the wife 
of John B. Hudson. 

Parmelia Baker (1803-1837) was the 
daughter of Abel and Nabby Baker. 
She married Phineas Towle, a joiner, 
who had a shop on Federal Street. 

Martha Beckett married John F. 
Fraser of Day and Fraser. She is said 
to have had a voice “of more than or- 
dinary power and compass.” For many 
years she lived alone on Pearl Street 
where she cultivated flowering plants 
from the sale of which she gained her 
livelihood. She died in 1870 at the 
age of sixty-six years. 

Priscilla H. Bartlett married Enoch 
Sawyer, a blacksmith, whose shop was 


on Railway Wharf. She lived on Fed- 
eral Street. 

Mary Bryant married Joseph Brad- 
bury of Mason & Bradbury. They lived 
on Hancock Street. 


Eliza Ann Capen (1804-1846) was a : 


widow and resided on Cumberland 
Street near Chestnut. She afterwards 
became the wife of Charles Tibbetts, 
a member of the Beethoven Society. 

Betsey Carter married W. Kimball, 
a morocco dresser on King Street. 
They resided on Federal Street. 

Sarah Carter became the wife of 
H. K. Kingsley. 

Sally Clary (1805-1859) married Ed- 
mund Winship, a clerk at Martin 
Gore’s Hat Store on Middle Street. 
They lived on the corner of Church 
and Federal Streets. , 

Mary Ann Bartlett (1803-1887) mar- 
ried Benjamin Fernald. Together they 
conducted a private school for several 
years. After Mr. Fernald’s death she 
married the Rev. Hobart Richardson 
and again became a widow. 

Sarah Dorrance, who is spoken of 
by a contemporary as “a most esti- 
mable lady,” lived until about the year 
1840. ; 
Charlotte Freeman, one of the best 
singers in Portland in her time, was 
the daughter of Deacon Samuel Free- 
man and was born in 1800. In 1827 
she was married to the Rev. John Boyn- 
ton, a Congregational minister who 
died in Delaware in 1876, as the result 
of an accident. She was the leading 
soprano of the chorus and the principal 
soloist. After her husband’s death, she 
journeyed to California where she made 
her home at Calistoga. 

Rebecca Hale was possessed of a rich 
contralto voice, and was also one of the 
principal soloists of the Beethoven So- 
ciety. She married Nathaniel Fernald, 
who was employed as cordwainer on 
Exchange Street and lived on Pleasant 


MUSIC OF THE STATE OF MAINE— 1820-1835 57 


Street. She died in 1875 at the age of 
seventy-five years. 

Almira Hale was the wife of Silas 
Hale, a cordwainer, who lived on Oak 
Street. 

Hannah Humphrey, one of the lead- 
ing sopranos of the Beethoven Society, 
lived until 1883 and attained the age 
of eighty-five years. 

Harriet Jones became the wife of 
Joseph Pope. 

Elizabeth Noyes married Ebenezer 
Robinson, a shipmaster, who lived on 
the corner of High and Pleasant Streets. 

Harriet Plummer married Loring 
Varney, a member of the Beethoven 
Chorus. 

Louisa Polleys (1803-1878) was mar- 
ried in 1826 to George W. Smith, who 
survived her by many years. 

Frances Richards became the wife 
of Calvin Dana, an apothecary on Fore 
Street. They lived on the corner of 
Congress and Hampshire Streets. 

Abigail Williams married Hosea IIs- 
ley, one of the trustees of the Beetho- 
ven Society. 

Elizabeth Weeks was the wife of 
Joshua F. Weeks, a grocer whose store 
was on Fore Street. They lived on 
King Street. Mrs. Weeks died in 1883 
at the age of eighty-eight years. 

William Knott played first violin in 
the orchestra of the Beethoven Society, 
in its early days, and was considered 
“a Master Player” on that instrument 
to which he was much devoted. He was 
a likeable person and was generally 
loved by the members of the society. 

Time, the cruel comedian, is apt to 
play sad pranks with the lives and 
destinies of those who become so ab- 
sorbed in their art that they overlook 
the necessity of providing against the 
day when weakening nature unfits 
them for the tasks they so much loved, 
and so it was with William Knott. In 
the fall of 1863 he died in an attic ina 


dilapidated house in Boston, friendless 
and alone, except for the presence of a 
fellow member of the Beethoven So- 
ciety who happened to learn of his ill- 
ness, too late to be of other service than 
to spend with him his last hour on 
earth. 

Who shall say that in the days of 
his bitterest poverty he did not find, in 
the music of his beloved violin, afflu- 
ence in his penury, vigor in his infirm- 
ity, companionship in his desolation, 
and consolation in the hour of his 
desperate need ! 

These early Maine singers were not 
professional musicians, but were, for 
the most part, just plain working folks, 
mechanics and tradespeople, busy for 
hour after hour each day in humble 
occupations which led them along pro- 
saic paths, but they had found in 
studying for the purpose of developing 
a true appreciation of good music, ade- 
quate compensation for every moment 
spent in the endeavor, and music, in 
their lives, grew to be like a wonder- 
fully woven tapestry which formed a 
richly colored setting to soften the petty 
tyrannies which daily beset them in 
the eternal struggle for material exist- 
ence, and which ever seemed destined 
to be, as they always have been to the 
members of the human family, harshly 
prominent in the foreground of the 
diorama of life. 

All honor to these men and women 
and others like them in other towns in 
the State, who, by their sacrifices, did 
so much for the cause of music in the 
early days of Maine’s statehood. 

Who of us today would leave our 
fireside of a stormy winter’s evening to 
go to a hall so poorly heated that the 
air would be nearly as chill as the out 
of doors, and so poorly lighted that it 
would be difficult to read the notes on 
the pages of the psalm tune books, and 
so poorly ventillated as to be almost 


58 MUSIC AND MUSICIANS OF MAINE 


suffocating! He who has never seen the 
dim light given out by a sperm oil 
lamp or tallow candles, such as were 
made before paraffine was used in the 
manufacture of them, has no concep- 
tion of the difficulties which attended 
the attempts at lighting public places 
during that period in American history. 
One naturally thinks of the people of 
this time as using kerosene oil for light- 
ing, but petroleum was not discovered 
until 1858, and coal for heating was 
unused, if not unheard of, in America, 
until sometime between 1820 and 1830. 
Every house had its huge fireplace, but 
many of the churches and public places 
were unheated. 

In 1822 a number of the members of 
the famous South Parish Church in 
Augusta, who desired to see an im- 
provement in the music in their church, 
engaged a Mr. Holland of New Bed- 
ford, Massachusetts, to go to that city 
and settle there as a professor of music. 
Early in 1823 Mr. Holland opened up 
a school “for the improvement of 
psalmody,” which he advertised would 
be taught “on a new system,” and in 
March his singers “took seats with the 
choir.” He gave his attention to the 
teaching of the piano and created an 
interest in music that led to the pur- 
chase of the first organ in the town. 
This instrument, made in England, was 
procured at a cost of five hundred and 
fifty dollars. The money.for this purpose 
was raised by popular subscription. 
The Sunday following its installation 
(1823) the organ was played by Mrs. 
Ostinelli. She had married Mr. Osti- 
nelli but a few months before and they 
were supposed to be on their wedding 
tour. On September 19, 1822, an “Ora- 
torio of Sacred Music” was given in 
Augusta for the benefit of and under 
the direction of Mr. Holland. On Sep- 
tember 25 another concert was given, 
at which Mr. Ostinelli played two se- 


lections on the violin. It is said that 
these were the only concerts of their 
kind given in Augusta during this peri- 
od and for more than thirty-five years 
thereafter. Mr. Ostinelli was born in 
Italy and was educated there. He spent 
several years at a conservatory in 
Paris where he studied under some of 
the first masters of the world. Mr. Osti- 
nelli, as an orchestra leader and violin- 
ist, SO it is stated, was without a peer 
in America at that time and played 
only music of the highest order. He 
was very jealous of his reputation and 
became exceedingly angry if anyone re- 
ferred to his instrument as a fiddle. 
When importuned by a lady to play 
for dancing, which followed one of the 
entertainments at which he performed, 
he deliberately cut the strings of his 
violin and said “verree sorree, verree 
sorree, madame you see Icannoplay!” 
Nearly thirty-seven years after these 
concerts were given in Augusta an 
equally talented musician, Madame 
Biscaccianti, sang in Meonian Hall in 
that city. This was in June, 1859, and 
the singer was the daughter of Mr. and 
Mrs. Ostinelli. 

Madame Biscaccianti, or Elise Osti- 
nelli, as she was known when a girl, 
lived in Portland for a time and be- 
came well known in Boston. She later 
resided in San Francisco and after- 
wards went to Rome where she died 
“in suffering and in want.” 

Mr. Holland remained in Augusta 
until September, 1823, when he re- 
turned to New Bedford. It is said that 
his influence on the musical life in Au- 
gusta is felt to this day. 

In 1823 Cyril Searle was temporarily 
located in Augusta and he continued 
the excellent work which had been 
started by Mr. Holland. 

At the various public events through 
the years which followed, music of a 
suitable and dignified character found 


MUSIC OF THE STATE OF MAIN E— 1820-1835 59 


a place on many programs. On October 
II, 1825, at the sixth anniversary of 
the Augusta Union Society, held in Mr. 
Tappan’s meeting house, Alfred Red- 
ington sang lines written for the occa- 
sion “with much taste.” 

Music also had a prominent place in 
some of the homes in Augusta at this 
time. There is authentic information 
that those passing by the house of 
Schubael Pitts, which was situated on 
the main street, would stop to listen to 
the singing by a son and daughter of 
the house. 

Other musical societies in the state 
were already sharing honors with the 
musical organizations of Augusta and 
Portland. 

A lively account of the music in the 
old church at Gorham in 1821 is found 
in one of the histories of that town. At 
that time, there being no organ in the 
church, instrumental musical accom- 
paniments were furnished by bass 
viols, violins, cornets and flutes. As 
there was no opportunity for feminine 
or masculine display except for those 
who sat in the singers’ seats, it seemed 
as if all, whether they sang on or off 
the key, wanted to belong to the choir, 
and there were not nearly enough seats 
to accommodate all. Some of the appli- 
cants were considered too aristocratic 
to sing in the choir, and some not sufh- 
ciently so. Such a tempest was stirred 
up that two separate singing societies 
were organized. One was called the 
Handel Society and the other the 
Haydn. The weekly meetings of one 
society were held at March’s Hall, 
while the members of the other society 
gathered weekly in Hunt’s Hall. The 
Haydns were successful, in this battle 
of music, in getting possession of the 
singers’ seats. The members of the 
“outs,” as the Handels were called, in- 
cluded many of the best singers in the 
town, and, in order that they might 


have a place in which to sing, a sub- 
scription list was started for a Free 
Meeting House. So successful were the 
proponents of the Handels that before 
the year was out the Free Meeting 
House was completed on a lot which 
had been donated by Alexander Mc- 
Lellan, and the Handels proudly oc- 
cupied the singers’ seats in the new 
church. Methodist, Universalist and 
Baptist preachers expounded their be- 
liefs from the pulpit and the Handels 
sang for them all, a rare occurrence for 
those days when creeds and dogmas 
and intolerance predominated. 


Portland Handel and Haydn Society 


With the passing of the Beethoven 
Society the interest in sacred and clas- 
sical music in Portland did not seem 
to wane, at least not for any extended 
period. On the contrary, to the musi- 
cal enthusiasts of the day, it seemed all 
the greater reason for increased energy 
and effort to sustain and develop the 
interest already created in the study of 
oratorio. In December of 1828 ap- 
peared a notice that would indicate that 
a new musical organization in Maine’s 
metropolis was already under way. 
This notice was signed by the Secre- 
tary, E. Richardson, and “reminded” 
the members of the Portland Handel 
and Haydn Society that their “regular 
meetings will be holden in their Hall 
every Tuesday at % past 6 o'clock.” 

In the early fall of 1829 this society 
presented its first program at Beetho- 
ven Hall. Of this concert the critic on 
one of Portland’s daily papers said, 
“The performances by the Handel and 
Haydn Society on Wednesday evening 
were received with great approbation 
by a respectable audience. The lovers 
of good music were highly gratified. 
We hope that the patronage extended 
them that evening will induce them to 
continue their public concerts.” 


60 MUSIC AND MUSICIANS OF MAINE 


A concert was given by the Handel 
and Haydn Society for the benefit of 
the Portland Wood Society in Febru- 
ary, 1831, at the “Stone Church” (First 
Parish), and repeated, a week later, for 
the benefit of the same society. 

The following communication to a 
Portland daily of February 11 indicates 
that the concert was successful finan- 
cially, as well as artistically, for the net 
proceeds of these two concerts was in 
the neighborhood of two hundred dol- 
lars. 


The performance on Thursday Evening last 
at the Church of the First Parish afforded a rich 
entertainment to the large assembly that at- 
tended and gave increased interest to the occa- 
sion. The first parts were well sustained and 
the house was filled with harmony. ‘The town 
is deeply indebted to the ladies and gentlemen 
who have thus a second time volunteered their 
services and exerted their musical powers in the 
cause of humanity and benevolence. We hope 
and trust that they will not be weary in this 
well-doing while so many hundreds are prompted 
to aid them by listening to their strains. These 
concerts show us how easy it is to render the 
best feelings of the heart and in the performance 
of duties, it dictates more and more pleasantly 
by such sweet and delightful association. 


(signed) A Lover of Music. 


Although the name of the society 
does not appear in any of the notices, 
it is more than probable that these two 
concerts were given by the Handel and 
Haydn Society of Portland, and no- 
where is the name of any officer, other 
than the Secretary, to be found in the 
daily papers of that period. 

Some of the churches were exceed- 
ingly slow about overcoming their pre}- 
udices against instrumental music in 
places of worship. 

At a concert of ministers held in 
the Freeport Congregational Church in 
1805, it was voted unanimously to ex- 
clude musical instruments, especially 
the bass viol, for church worship. 

About 1821 an attempt was made to 
introduce a bass viol into the meeting- 


house in Brunswick, but one of the in- 
fluential members said he wouldn’t 


-“hear a fiddle in God’s house,” so no 


further effort was made in this direc- 
tion. 

From the time that Col. James W. 
Webster was first connected with the 
choir of the old First Unitarian Church 
in Belfast, that old meetinghouse, which 
had been established in 1796, was noted 
for its music. Although the first settle- 
ment of the town, which had been made 
in 1770, had been broken up by the 
British, nine years later, and the place 
was again invested by the enemy in 
1815, still the good people of the settle- 
ment found time for the development 
of music in its choirs, along with the 
cultivation of things spiritual. As early 
as 1822, when William Moody was ac- 
companying the psalm-singing with his 
old bass viol, Colonel Webster had be- 
come connected with the First Church 
choir. 

At that time the leading soprano was 


Eliza Watson; tenor chorister, William 


Moody; and the leader of the bass, Dr. 
Herman Abbott. With them were as- 
sociated Elizabeth Moody and Dr. 
Hollis Monroe. 

Immediately succeeding this choir 
Isaac Dunham was chosen chorister. 
Mr. Moody returned to his viol for a 
time and was assisted by Dr. J. P. Al- 
den, John White, H. N. Palmer and 
William Quimby, who played the vio- 
loncello. James White was leader of 
bass, Grace Ulmer, leading soprano, 
and Alice Towle, principal alto. From 
1822 to 1835 the bass viol was played 
by William Quimby. In 1825 Oliver 
A. Washburn, afterwards of Bridge- 
water, was elected chorister. He served 
until 1827, when Colonel Webster was 
elected to the position of chorister, 
which he retained for thirty years, ex- 
cept for a few months in 1841. 

During the early years of Colonel 


MUSIC OF THE STATE OF MAINE-— 1820-1835 61 


Webster’s leadership the choir was 
“sraced by numerous superior and dis- 
tinguished singers,” among whom, until 
1842, were Mrs. J. P. Alden, Mrs. Han- 
nah Cushman, Sarah E. Whittier, Har- 
riet S. Osborn, H. N. Lancaster, 'T. H. 
Greeley, W. O. Poor, Joseph Wheeler 
and Albert Bingham. 

Occasional members of the choir from 
1823 to 1835 were Major P. R. Hazel- 
tine, James P. White, Sherburne Sleep- 
er, E. T. Morrill, Daniel Haraden, Al- 
bert G. Jewett, Mary Palmer, Eunice 
E. Edmunds, Eliza and Susan S$. Kim- 
ball and others. 

Dancing was in vogue in Belfast as 
early as 1806. Assemblies soon came to 
be held at the Old Huse Tavern, cor- 
ner of Main and High Streets. The 
usual attendance was about thirty 
couples. 

In 1808 subscription dances were in- 
augurated at which music was fur- 
nished by a single musician. 

In the following years Academy Hall 
was used for assemblies, at which Ma- 
jor Jack Douglass furnished the music. 

In May, 1835, a contract was made 
in Newburyport for an organ for the 
First Unitarian Church of Belfast. ‘This 
instrument was shipped on the ill-fated 
schooner “New Packet” which, on the 
fifth of June, 1835, went ashore near 
the mouth of Penobscot Bay, within 
thirty miles of its destination. Fortu- 
nately the organ had been purchased 
on such terms that it was not to be 
paid for until delivery, so its loss, fi- 
nancially, did not fall on the members 
of the church. The crew and passen- 
gers, among whom, strangely enough, 
was Colonel Webster, were rescued. 
Another organ was immediately pur- 
chased from Henry Urban of Boston 
and it was first played in the following 
month. Frederick N. Palmer was the 
first organist and held that position for 
a period of one year. This organ served 


the people of the First Unitarian 
Church until 1848, when it was re- 
placed by a larger one which had been 
built by George Stevens of Boston, at 
a cost of thirteen hundred dollars. The 
old instrument was sold for four hun- 
dred dollars. 

The story of the Belfast choirs after 
1835 properly belongs in another chap- 
ter and will be found on some of the 
succeeding pages. 

Watts’ Collection, with its “Sacred 
Poetry selected by the Rev. Jeremy 
Belknap, D.D.,” was used in the new 
meetinghouse in Belfast as early as 
£o2, 

The Handel Society of Bath was or- 
ganized about the time the Beethoven 
Musical Society came into being, and, 
in 1821, its officers were Doctor Ben- 
jamin D. Bartlett, President; William 
Sewall, Vice President; Rufus Buck, 
Secretary. 

Good progress in music was, in the 
meantime, being made in some of the 
smaller towns of the State. 

Of the Congregational Church in 
Cumberland (1819), it is said, the par- 
ents rode on horseback, the good-wife 
on the pillion, the children going on 
foot and cutting across lots to the 
church, where the half frozen worship- 
pers sat through a sermon an hour long 
and a prayer which lasted another 
hour, but the music consisted of “the 
singing of the good old tenor stamp 
performed by good natural voices in 
the popular tunes of the day.” 

The Town of Cumberland may well 
be said to have been a musical center 
at this time, for as early as 1829 the 
Philo Harmonic Society was assisting 
at concerts and public functions in that 
and nearby towns. 

In this year the Philo Harmonic So- 
ciety sang several numbers at the fourth 
of July celebration, including two odes, 


“Swell the Full Anthem” and “The 


62 MUSIC AND MUSICIANS OF MAINE 


Liberty Tree,” as well as a number of 
hymn tunes. 

A critic says: “The Singing of the 
Philo Harmonic Society was performed 
in an animated and judicious style, 
which we have seldom heard sur- 
passed.” 

It is known that a society for the 
study of choral music was in existence 
in Brunswick as early as 1825. This 
was the “Hayden Society,” spelt with 
an “e” in the old histories of the town; 
and was followed in 1829 by the Mo- 
zart Society, which, it was stated, was 
“founded for the cultivation of musical 
tastes and social intercourse.” Its meet- 
ings were held in the Tontine Hotel, 
the Maine Hotel and Robert Orr’s of- 
fice. Among its members were Robert 
Orr, General Abner B. Thompson, 
James McKeen, M.D., John H. ‘Thomp- 
son and Benjamin Dennison. 

The church of the First Parish, 
Brunswick, in 1835 voted to receive an 
organ in trust for the church. Two 
years later the debt due on the organ 
was assumed by the Parish. May 16, 
1840, it was voted to pay the organist 
fifty dollars. An objector at the Parish 
meeting declared, “I have felt very un- 
pleasant ever since the organ came into 
the meeting house. It is not acceptable 
to God. It is very offensive. It begins 
to make a noise after each hymn is 
read, before they begin to sing. It has 
a very immoral tendency. It keeps our 
minds on other things.” No other per- 
son objected, so the motion was carried. 

Prior to the fall of 1825 the “Philo 
Harmonic Society” was organized in 
New Gloucester, and on October 25, 
1826, its anniversary meeting was held 
at the meetinghouse of the First Parish 
in that town, when “some select pieces 
of music” were performed and an ad- 
dress on music was delivered by Wil- 
liam Bradley, Esq. 

E. H. Merrill, at this time the Sec- 


retary of the organization, and Rev. 
Elisha Mosely, and Deacon Isaac Par- 
sons were honorary members and zeal- 
ous patrons of the Philo Harmonic 
Society. 

At the fourth of July celebration in 
1827 the society rendered an anthem 
“in Superior Style.” 

This musical organization must have 
been in existence for a period covering 
three or more years and was supported 
by the best people of the town. 

Dancing in Maine had already come 
to be looked upon with some degree of 
favor in certain quarters, and on some 
occasions, it is stated, the music to ac- 
company it was brought from Boston. 

At Brunswick, where the students 
may have given some social distinction 
to such events, Commencement Balls 
were held as early as 1821, but a school 
for dancing at the Godfrey House, 
across the river, at Topsham, was in 
existence as early as 1799. 

A Grand Peace Ball was held at Bid- 
deford in 1824, which was said to have 
been unrivalled anywhere in Maine for 
magnificence. Music was furnished by — 
“Fiddler Gray of Portland.” 

A dancing school in Saco had been 
in operation as early as 1809 when the 
“Master” or “Fiddler,” as he was 
called, came from Portland. 3 

The Inauguration Ball, given on 
March 4, 1829, at the Exchange Coffee 
House in Portland, was a great social 
event of the times. The elite of Port- 
land and the surrounding towns were 
at this grand affair. The Exchange 
Coffee House (where all the big society 
events of the day were held) was op- 
posite the Bethel Stone Chapel on Fore 
Street, and, as undesirable as that par- 
ticular locality afterwards became, it is 
a strange circumstance, that sixty-eight 
years later, all western Maine society 
and music loving folk flocked to the 
same spot to listen to the first perform- 


MUSIC OF THE STATE OF MAINE— 1820-1835 63 


ance of the Maine Festival Chorus, 
when the great auditorium, built on the 
old Coffee House site, was filled to 
overflowing. 

Assemblies, to which season tickets 
were sold, were held at Union Hall, 
Portland, during the winter of 1828 
and 1829. 

Public entertainments of a musical 
character during the first ten years of 
Maine’s Statehood were rather infre- 
quent, though traveling companies of 
lecturers, comedians, and musicians 
would sometimes spend several weeks 
in Maine, giving a concert first in one 
place and then in another, and return- 
ing, so that sometimes they would give 
four or five entertainments in a town 
during a period of a month. 

Actors, and those who craved the 
drama, were at their wits’ ends to find 
a way to circumvent the blue laws in 
those places where the approbation of 
the selectmen of the town could not 
first be obtained, in order for them to 
get the necessary license from the Court 
of General Sessions of the Peace, be- 
fore a performance could be given. 

A study of the law revealed the fact 
that if such a stage play, interlude or 
other theatrical entertainment were 
acted or carried on, “for profit, gain or 
other valuable consideration” that the 
owner of the building should forfeit a 
sum not exceeding five hundred dollars 
for each and every time such house or 
building should be let, or hired, or suf- 
fered to be used, and every actor as 
well as those who assisted in any way 
should also forfeit and pay four hun- 
dred dollars. 

About this time some ingenious per- 
son conceived the idea that if a musical 
entertainment to which an entrance fee 
were charged should be given and the 
dramatic parts of the program between 
the musical features were presented 
free, that such free exhibitions of the 


drama could be presented with impu- 
nity, sO music was the smokescreen 
which was used to outwit the Puritani- 
cal Massachusetts legislators who had 
enacted this law before Maine became 
a State. 

Appended herewith is an announce- 
ment of what was probably the first 
dramatic entertainment in Maine, thus 


camouflaged to evade the law. 


The public are respectfully informed that 
there will be A CONCERT of Vocal and 


Instrumental music 
On Friday Evening, June 23rd. 


Between the parts of the concert will be per- 
formed (gratis) a favorite Comedy in 5 acts 
called the 

Soldier’s Daughter. 


The whole to conclude with a Musical enter- 
tainment (gratis) called 


Of Age To-morrow. 


Tickets of admission to the upper seats, sev- 
enty-five cents each; lower seats fifty cents. 


These venturesome spirits were suc- 
cessful in their design, and several other 
similar programs were presented to au- 
diences in Portland and other Maine 
towns during June, July and August of 
that year, apparently without inter- 
ference by the officers of the law. 

Happily the act of 1806 was repealed 
by the new Maine Legislature at its 
very first session, and on March 21, 
1821, just one year and six days from 
the time Maine became a state, this 
obnoxious law became a thing of the 
past. In Massachusetts, however, this 
law continued in effect until 1826, when 
the solons of the Commonwealth fol- 
lowed the example of their Maine 
brothers in abrogating the statute. 

For a long time, however, public 
sentiment of the majority of people in 
certain localities in the State was so 
strongly opposed to dramatic entertain- 
ments in any form that they were not 
tolerated. 

Notwithstanding that the law against 
dramatic entertainments had been re- 


64 MUSIC AND MUSICIANS OF MAINE 


pealed in 1821, for very many years a 
substantial number of the people in 
Portland were so sensitive about at- 
tending any kind of an entertainment 
held in a theater that they refused to 
enter such an unholy building, even 
though the entertainments were far 
from being of a theatrical nature. 

There is, perhaps, no city in Maine 
more musical than Rockland, nor one 
of its size where musical voices, in 
greater number, are to be found. For 
years the names of Burpee, Partridge, 
Spear, Tibbetts, Harrington, Wight, 
Fuller, Bird and others have been syn- 
onymous with music. 

Rockland musical history dates back 
to the year in which Maine became a 
state. In that year the Old Brick 
Church was built. While it was a Un- 
ion Church it was used principally by 
the Methodists and Universalists. 

Nancy Sleeper, in her valuable man- 
uscript history of “Music of Rock- 
land,” says, “It had high pews with 
doors and a gallery all round including 
one for the choir, this being the first 
choir in this vicinity. There were fif- 
teen or twenty singers, and the only 
instrument was a bass viol played by 
John Spofford, who owned the first one 
here. The singers met at the homes of 
the members and learned some church 
tunes but there were no regular re- 
hearsals. Mr. Ed Hovey was leader. 
Among the singers were Harvey Spear, 
Elkanah Spear, Simeon Partridge, 
Richard Smith, Tileston Healey, Mar- 
garet Watson, Alma Partridge, Mary 
Croner, Angelica Branton and Harriet 
Spofford.” 

During the period from 1825 to 1828 
religious services were frequently held 
in the house of James Partridge, where 
the first quartette choir in the town 
sang. This was composed of Mr. and 
Mrs. Partridge, their oldest son and 
daughter. 


In 1828 the Methodists, who had or- 
ganized in 1801, built a chapel of their 
own, with steeple and bell, on the site 
now occupied by the present church. 
A choir, of which Harvey Spear and — 
Simeon Partridge were leaders, fur- 
nished music for its dedication. f 

Old records throw interesting side- 
lights on the attitude of some of the 
people of Maine towards music at that 
time. On one occasion a certain man 
offered “to take lead of the singing in 
case the church would refund to him 
$25. which he says he has expended in 
Boston for education.” At another, a 
delinquent member, when urged to re- 
turn to his church duties, refused to do 
so “unless the church pledge them- 
selves not to use the meeting house for 
any other than religious worship and 
turn out the present choir of singers 
from the seats.” The playing of “worldly 
fiddles” in the House of God met with 
much opposition in nearly all places. 
Rockland was no exception. The vio- 
linist at the Methodist Church received 
an anonymous letter requesting him to 
stop playing the fiddle there. Later the 
church owned “a seraphine” which was 
played by Aldana Crocker, who was 
also a singer of prominence. After the 
organ was installed the seraphine was 
sold to Edward Ingraham. 

In 1854 the church building was en- 
larged and an organ purchased. Mr. 
Richmond, then a member of the choir, 
with Deacon Hix were a committee to 
purchase it. Mr. Whipple, the first or- 
ganist, was succeeded by Sarah Wood, 
who was afterwards succeeded by Sa- 
rah Harrington. | 

Mrs. William Wilson, Mrs. Ruth S. 
Mayhew, Mrs. H. B. Ingraham, Fran- 
cis Harrington and William J. Atkins 
sang in this choir for many years. 

At first only psalm tunes were sung 
by the choir, but on one occasion “‘Be- 
fore Jehovah’s Awful Throne” and 


MUSIC OF THE STATE OF MAINE— 1820-1835 65 


other anthems were rendered. It was 
reported that “This was considered a 
wonderful performance.” — 

_ The first organ used in this church, 
which continued in use until 1906, was, 
to every outward appearance, a pipe 
organ, but was, in reality, without 
pipes. This remarkable illusion was 
produced by installing “pipes”? made of 
gilded pasteboard. 

The records of the Baptist Church 
formed in 1833 disclose the fact that 
it “owned an interest” in a bass viol 
until 1835 when the church voted to 
dispose of it. This was played at first 
by Asa Hatch. 

William Hatch was leader of the 
Baptist Church choir and the other 
members were Deacon Henry Ingra- 
ham, Rebecca Lindsey, Harriet Spof- 
ford, Adeline Harrington, Achsah In- 
graham, and Sarah Holmes. Jacob Har- 
rington played the violin and Stephen 
Hatch appears to have succeeded Asa 
Hatch at the bass viol. 

“Before Jehovah’s Awful Throne,” 
“Sound the Loud Timbrel,” and “Fly 
Like a Youthful Hart or Roe,” were 
favorite anthems of the choir. 

After a time the Baptists sold their 
church to the Congregationalists and 
a new Baptist Church was built on the 
site of the present one and dedicated 
January 1, 1839. 

The hymns sung at the dedication 
were from Watts’ collection. Jacob Har- 
rington was then leader of the choir. 

In the old Congregational Church at 
Rockland “they worshipped with fid- 
dles” at first. Leander Starr played the 
violin and Elkanah Spear the bass viol. 
After a time a seraphine was used 
there, but it was replaced by a small 
organ. 

When the pipe organ was installed 
this small organ was stored in the 
Campbell Building opposite the church. 
A group of youngsters obtained access 


to it and supplied themselves with 
“wonderful whistles” that made them 
the envy of all the other boys in the 
town. 

Winthrop may be regarded as one of 
the earliest towns in Maine where the 
people took a deep interest in music. 
John Stanley, who was born in Attle- 
boro, Mass., in 1771, was a very prom- 
inent vocalist there. He came to Maine 
in 1817 and lived in Readfield and 
Winthrop for a number of years. In 
1840 he returned to Attleboro where 
he died at the age of ninety. 

George W. Fairbanks of Wayne was 
born in Winthrop, August 5, 1803. He 
married Lucy Lovejoy, a musically 
gifted lady, in 1828 and their house 
became the musical center of the vil- 
lage. He was a famous teacher of sing- 
ing schools in his day and was, for 
many years, the leader of the church 
choir in Wayne. 

The hospitality of the Fairbanks 
home and the musical influence which 
pervaded it brought to it a large circle 
of talented friends. Mrs. Fairbanks, a 
native of Wayne, died in 1883, and Mr. 
Fairbanks survived her but five years. 

During the early years of Maine’s 
Statehood schools for instruction in mu- 
sic and the allied arts were opened in 
many towns in the State. 

In January, 1821, L. Champrosay 
opened a dancing academy at Stod- 
dard’s Hall in Brunswick, and five 
years later Miss Brown of Boston 
started a school for musical instruction 
in the same town, giving especial at- 
tention to students of the harp and 
piano, while in 1825 Luke Hastings’ 
school for instruction in vocal music 
was opened to the public. 

In September, 1821, James D. Hay, 
organist at the Second Parish Church 
in Portland, announced that he “teach- 
es pianoforte and organ” and is “like- 
wise Opening a school for those desir- 


66 MUSIC AND MUSICIANS OF MAINE 


ous of learning that pleasing and fash- 
ionable instrument, the German Flute.” 

In the Portland daily papers of the 
winter of 1823 Cyrus White adver- 
tised his singing school “for the in- 
struction of young lads and misses in 
Church Music on Wednesday and Sat- 
urday of each week at the First Bap- 
tist Meeting House.” 

In March, 1823, Miss E. C. Kertells 
announced her intention to teach music 
with other studies at her Boarding 
School in Portland. 

In the winter of 1825 and 1826 R. 
Claggett from Dartmouth College an- 
nounced that he had opened a school 
for advanced singers in Beethoven Hall, 
Portland, and would give lessons to 
beginners in a separate school. His 
terms were twenty-five lessons for 
three dollars. A later announcement 
stated that he was Proprietor of the 
Singing School at Dr. McLellans. 

In February of the same year Miss 
Murray advertised to give instruction 
in music at her school for young ladies 
to be opened on Pleasant Street in that 
city. 

H. Jackson opened a school in Port- 
land in 1826 for the purpose of giving 
lessons in sacred music with the very 
liberal terms of twenty-four two-hour 
lessons for two dollars. 

In August, 1827, William H. Wood’s 
Singing School was opened in a room 
under Beethoven Hall. 

In 1829 a Mr. Sawyer, in an adver- 
tisement, offered to open a singing 
school, using the “Monitoria System,” 
“if Sufficient Encouragement can be 
obtained,” and the following month 
announced the opening of his school 
for reading, writing, arithmetic, Eng- 
lish and sacred music. 

Mrs. Bartolini from Europe came to 
Portland in 1828 and opened a dancing 
school and a school of music on the 


pianoforte, guitar, etc., and announced 
that, “she keeps Guitars.” 

In 1829 A. W. Searles, “a professor 
of music intending to make Portland 
his residence,” began the teaching of 
piano, violin and bass viol in that city. 

Other teachers of music in Portland © 
at this time were Fayette Bartlett, or- 
gan, piano, flute, flageolet and other 
instruments; H. T. Harris, organ, pi- 
ano and German flute. 

In 1830, at Mr. Furbish’s Academy 
in Portland, lessons “in the first prin- 
ciples of Vocal Music auxiliary to a 
good style of reading and speaking” 
were given in a class of boys and 
young gentlemen. ; 

In 1832 George W. Hewitt “from 
Boston” located in Portland where he 
taught the piano and organ and adver-— 
tised to arrange music for military 
bands. 

During the first decade of Maine’s 
existence as a state there were a num- 
ber of collections of psalm-tunes, sing- 
ing books and other musical works 
which bore the imprints of Maine pub- 
lishers or were compiled by people liv- 
ing within its borders. Among these, 
one of the most notable was The Wes- 
leyan Harmony, “or a compilation of 
choice tunes for public worship; adapt- 
ed to the various metres in the Meth-— 
odist hymn book now in use; With a 
table of the particular metres, hymns, © 
and the names of the tunes annexed in 
which they may be sung. Designed for 
the Methodist societies, but proper for — 
all denominations,” by Henry Little of 
Bucksport, Maine. No date appears on 
the title-page but a second edition, en-- 
larged and improved, was printed by - 
Goodale, Glazier & Co., of Hallowell, — 
in 1821. | 

Psalms, Hymns and Scriptural Song 
“selected for the use of the united 
churches of Christ, commonly called 


MUSIC OF THE STATE OF MAINE— 1820-1835 67 


Free Will Baptists, and for saints of all 
denominations,” was published by John 
Buzzell, minister of the gospel, Kenne- 
bunk, and printed by James K. Rem- 
ick, for John Buzzell and Elias Libby 
im 1827. 

In March, 1826, Mr. Nolcini an- 
nounced the forthcoming publication of 
his anthem which had been sung at the 
dedication of the new stone church in 
Portland, as follows: 

The Subscriber respectfully solicits the pat- 
ronage of his friends and the public for publish- 
ing the Anthem composed by him for the Dedi- 
cation of the New Stone Church in this town 
as performed on the 8th of February, 1826. 

The work will consist of eight pages or more 
quarto size to be printed by Messrs. Glazier 
and Co. at Hallowell and will be completed in 
the course of three weeks. Subscriptions will 
be received and copies delivered when finished 
at Mr. Wm. Hyde’s Book Store, Middle Street. 
Price to subscribers twenty-five cents only. 

Cuaries Notcin1. 

James Emery (1795-1844), a Water- 
boro clergyman, in 1829 published The 
Gospel Hymn Book, “a new collection 
of hymns and spiritual songs for the 
use of the pious,” and in 1830 appeared 
Sacred Songs, “being a collection of 
hymns for the use of Christian denomi- 
nations,” by C. T. Norcross. This was 
printed in Hallowell by Glazier & Co., 
Printers, at No. 1 Kennebec Row. 

With the introduction of musical in- 
struments into the churches and the de- 
sire of the cultured to be able to per- 
form on them, came a demand for in- 
struction books, and in 1828 Glazier & 
Co. published the Flute Instructor, 
“containing a plain and easy introduc- 
tion to the rules and principles of the 
German and patent flutes; together 
with a choice selection of new and val- 
uable music consisting of preludes, airs, 
duets, songs, waltzes, &c. Many of 
which have never before been published 
in this country. 2d. ed. corrected and 
improved.” This work proved so pop- 


SAMUEL FRANCIS SMITH, COMPILER OF “THE JU- 
VENILE LYRE” AND AUTHOR OF “AMERICA.” FOR 
SEVEN YEARS A RESIDENT OF WATERVILLE WHERE 
HE WAS A PROFESSOR AT THE COLLEGE. FROM A 
PHOTOGRAPH IN THE COLBY COLLEGE COLLECTION. 


ular that it ran into no less than six 
editions. 

The Violin Instructor, “containing 
a plain and easy introduction to the 
rules and principles of the violin, to- 
gether with a choice and extensive se- 
lection of new and valuable music con- 
sisting of preludes, duets, songs, waltz- 
es, etc. many of which have never be- 
fore been published in this country,” 
which had been previously published 
by this firm, was in its second edition 
in 1828 and ran into a third edition 
three years later. This last edition bore 
the publishers imprint as Glazier & 
Marsters. 

The Juvenile Lyre, “or hymns and 
songs, religious, moral and cheerful, set 
to appropriate music for the use of 
primary and common schools,” and 
printed in Boston by Carter, Hendee 


68 MUSIC AND MUSICIANS OF MAINE 


& Co. in 1835, was compiled, while a 
resident of Maine, by Samuel Francis 
Smith, D.D., author of those immortal 
verses beginning: 

My Country; ’tis of Thee, 

Sweet, land of liberty, 

Of thee, I sing; 

Land where my father’s died! 

Land of the pilgrim’s pride! 

From every mountain side 

Let freedom ring! 

Samuel Francis Smith, 1808-1895, 
though not born in Maine, was a Bap- 
tist clergyman in Waterville from 1834 
to 1841 and a professor at the Water- 
ville College (afterwards called Colby 


College), so Maine can fairly claim the’ 


author of “America” as her own for 
this period at least. 

John Maxim composed several tunes 
among which were “Carver” and “Wor- 
ship,” both of which obtained a degree 
of popularity. 

Among the hymn tunes of the period 
(1820 to 1835) that enjoyed the dis- 
tinction of being named for Maine 
towns were Sweetsir’s “Cumberland,” 
Carey’s “Otisfield,” Holden’s “Hollis,” 
Swan’s “Poland,” B. Sawyer’s “Nor- 
way,” W. Paine’s “Wells,” and B. Tal- 


bot’s ‘““Pownal.” 


The epoch represented by the first 
fifteen years of music in the State of 
Maine covered practically the entire 
time during which the Beethoven So- 
ciety existed and may be described as 
the reconstruction period in American 
music. 

The people of New England, espec- 
ially, had already begun to take a saner 
view in relation to British music. The 
best of the English psalm tunes were 
restored to the hymn books and the 
majority of the poorer numbers that 
had been substituted during the time 
that America was at war with the 
mother country were omitted as new 
editions appeared. 

Study of the works of the great mas- 
ters by the musical societies had de- 
veloped a desire among the people for 
better and richer harmonies and the 
music in the churches was improved 
to such an extent that the change in 
this regard seemed little short of mi- 
raculous. 

It was an epoch during which much 
progress was made, and was especially 
notable for the creation and develop- 
ment of a taste for classical music 
among the common people of the State. 


oul ae aoe Rad EUS) BAN 


Tue Music oF THE STATE OF MAINE 


SECOND PErRtiop 1836-1856 


Real music is the voice of God, 
Mind’s symphony complete. 
Ideas are notes 
And each one floats 
To eternity’s rythmic beat. 
— From “Music” by Anita Gray Little. 


Portland Sacred Music Society 


The story of the old Portland Sacred 
Music Society should be written large 
in the history of Maine music, for it 
was the first organization to sing an 
entire standard oratorio at a public 
performance within the State of Maine, 
and probably the first to present such 
an ambitious undertaking in any city 
or town east of Boston. 

If one reads the journals of the day 
he will find that The Portland Sacred 
Music Society was an outgrowth of an 
attempt to found a permanent acad- 
emy of music in Portland. 

In the spring of 1835 Ferdinand IIs- 
ley, who had started a singing school 
some time before, opened the season 
with his “Portland Academy of Mu- 
sic.” This was originally designed for 
boys and girls, and, within a year, he 
and his associates had secured nearly 
three hundred pupils. 

The first advertised concert of vocal 
music by these young people, whose 
ages ranged from seven to fifteen years, 
was held at the church of the Second 
Parish, “assisted by the organ,” on the 
afternoon of September 9, 1835. 

The concert was apparently success- 
ful and was repeated one week later. 

During the fall of 1835 a number of 
men and women of Portland, desirous 
of helping along the work of Mr. Isley, 
joined the “Academy Choir,” and, in 
December of that year, a meeting of 


the association was held at the Third 
Parish Church. The exercises consisted 
of “Prayer, Music by the Association, 
and an Address by Mr. Furbish.” 

The announcement of the first adult 
concert by the Portland Academy of 
Music appeared in the Argus of March 
Fos. 

At this concert the program was 
made up of selections from Arnold, 
Beethoven, Bray, Handel, Haydn, Ives 
and Shaw. 

Press agents were rare, so not all 
concerts were reported, in those days. 
There was no editorial notice in either 
of the Portland papers before or after 
this performance. 

The concert was repeated on April 
21, “the evening of Fast Day,” at the 
First Parish Church, being preceded 
the night before by a rehearsa! at the 
same place. 

Of this performance the Evening Ad- 
vertiser of April 23 said: 

“On Fast day evening we had the 
pleasure of listening to one of the best 
concerts of Sacred Music ever given in 
this city. The performers were remark- 
able for three important characteristics, 
namely; distinct pronunciation, good 
taste, and accurate time. We were not 
aware that there were so many good 
voices among us. The solos and duets 
were performed with a grace worthy 
of all praise, and we are sure, from in- 
dications on the part of the audience 
that all present were of the same opin- 
ion as ourselves. How delightful to 
have such concerts frequent! What a 
charming festival! How many tender 
and religious emotions enlisted! We 
are rejoiced to learn that the science of 


70 MUSIC AND MUSICIANS OF MAINE 


EDWARD GOULD, FIRST PRESIDENT OF THE PORT- 
LAND SACRED MUSIC SOCIETY (1836), THE FIRST 
IN THE STATE TO SING A COMPLETE STANDARD 
ORATORIO (“CREATION,” APRIL 24, 1837). FROM A 
COPY OF A PAINTING MADE BY JOSEPH G. COLE IN 
1833. PHOTOGRAPH LOANED BY MAJOR JOHN M. 
GOULD, PORTLAND. 


vocal music is beginning to receive that 
attention among us which it eminently 
deserves. May everyone feel it a duty 
to lend his aid to the cultivation of a 
science so important to the church, to 
morality, and religion, to those emo- 
tions which we all love to feel, as a 
foretaste of enjoyment beyond the 
grave.” 

After this concert a meeting of “the 
male members of the choir, hitherto 
under the direction of the Portland 
Academy of Music,” was called, and 
the object of the meeting, as announced, 
was “to adopt some measures that 
may promote the interests of the choir.” 


The first announcement in which the 
name Sacred Music Society appears 
was printed in the Advertiser of May 
II, 1836, in which it stated that an ad- 
journed meeting of the society would 
be held on that evening so it would 


seem that the birth of the Portland © 


Sacred Music Society may be reckoned 
from the date on which this first meet- 
ing was held, viz., May 4, 1836, and 
the place was the Temple Street 
Church. 

On June 24, 1836, it was announced 
that “some of the principal Amateurs 
in this City will give a Concert Of 
Sacred Music To-Morrow Evening in 
the church of the Third Parish to com- 
mence at 8 o’clock precisely.” 

It is more than likely that among 
the amateurs who assisted at the per- 
formance were members of this em- 
bryonic music society which was to dic- 
tate the musical policy of Maine’s me- 
tropolis for the next eighteen years. 

The first fall concert given in Octo- 
ber, 1836, was “thinly attended,’ but 
was repeated with better success about 
ten days later. 

A momentous announcement, calling 
attention to the fact that Haydn’s 
“Creation” was in rehearsal and stat- 
ing “This occasion will furnish lovers 
of Music in this city an opportunity of 
listening to the whole of that sublime 
composition which, we believe has 
never been performed, as a whole this 
side of Boston,” appeared in the 4d- 
vertiser of December 27, 1836, and 
contained the statement that the so- 
ciety had procured several distinguished 
musicians from Boston to play in the 
orchestra. 

The presentation of the oratorio 
“Creation” in its entirety for the first 
time in the State of Maine was given 
by the Portland Sacred Music Society 
on April 24, 1837, with David Paine 
acting as organist, and supported by an 


— 


ee ee ee 


MUSIC OF THE STATE OF MAINE— 1836-1856 71 


imported orchestra. Arthur L. Ilsley 
and his sister Esther Ilsley were the 
principal soloists. 
The following is of interest as being 
a copy of the advertisement of the 
historic concert: 
THE ORATORIO 


by the 
PORTLAND SACRED MUSIC SOCIETY 


previously advertised, will be given, at the 
Second Parish Church on Tuesday Evening next, 
and repeated on Wednesday and Thursday 

Evenings. Performance to commence at 

6 % o'clock. Doors open at 6. 
Leader of the Orchestra 
Mr. R. Garbett of Boston. 
Organist, Mr. D. Paine. 

Messrs. Friedham, Pierce, Brockway and 
Hanson, professors of the different instruments 
are engaged for the occasion. 
Family tickets not exceeding five $2.— 
Single tickets fifty cents. 

Of this performance the unmusical 
but not unfriendly editor of the Argus 
of the next morning had this to say: 

“The Oratorio, — The first perform- 
ance of the ‘Creation’ last evening was 
well attended; and though the society 
labored under some disadvantages (es- 
pecially on account of the detention of 
some of the Musicians from Boston, in 
consequence of the snow storm), the 
Oratorio was given in a manner which 
equalled and we think surpassed the 
most sanguine hopes of the friends of 
the Society. It is to be repeated this 
evening, the remainder of the orches- 
tra having arrived; and as those per- 
formers who were lacking in confidence 
will have gained on that point, and the 
music having become familiar to all, 
we may fairly anticipate an improve- 
ment.” 

A music critic over the cognominal 
initial “N,” writing in the Advertiser 
of the same date, fairly bubbles over 
in his enthusiasm at the success of this 
achievement by Portland singers. His 
contribution to this evening journal is 
worthy of consideration by those who 


would give attention to the history of 


‘music in Maine as this performance of 


the “Creation” marks an epoch in the 
musical annals of the State. 

“Messrs. Gerrish and Edwards: I 
have just returned from the Oratorio by 
our Portland Sacred Music Society and 
as late as it is and tired as I am with 
plunging through snow-drifts, I cannot 
make up my mind to go to sleep with- 
out bearing a word of testimony in 
season for to-morrow night. A new era 
has occurred in the history of Port- 
land. Forty-eight hours ago, I should 
have been among the first to laugh at 
the idea of getting up Haydn’s ‘Crea- 
tion’ here — and now, instead of laugh- 
ing at the projectors, I should be among 
the foremost to vote them the thanks 
of their country. Just think of being 
found in this high northern latitude — 
in depth of winter, with the snow three 
feet deep on a level (if one could find 
it) among a population of fifteen thou- 
sand — fourteen thousand five hundred 
of whom have no idea of music what- 
ever, while one half, not to say three- 
fourths of the remainder, have a wrong 
one — just think of there being found 
some forty or fifty persons, presump- 
tuous enough —that’s the very word— 
presumptuous enough, to dream of get- 
ting up Haydn’s ‘Creation’ for the pub- 
lic, with the help of four or five per- 
sons from Boston—hit or miss! And 
then just think of this succeeding! Yet 
such is the fact! 

“Haydn’s Oratorio of the ‘Creation,’ 
one of the author’s greatest and most 
astonishing peculiarities, tho written at 
the age of sixty-five, with its solemnity 
and sweetness, its energy, variety, orig- 
inality and sublimity is understood here 
—here! in this little bit of a place, a 
village at best, in comparison with 
other places, where with all their musi- 
cal pretension they would as soon think 
of getting up Milton’s ‘Paradise Lost’ 


92 MUSIC AND MUSICIANS OF MAINE 


ARTHUR L. ILSLEY AND MRS. E. D. BRANSCOMB (ESTHER ILSLEY), WHO AT THE AGES OF TWENTY-FIVE 
AND EIGHTEEN, RESPECTIVELY, SUSTAINED THE PRINCIPAL ROLES IN THE FIRST PRESENTATION IN THE 


STATE OF MAINE OF HAYDN’S ORATORIO, “CREATION.” 


FROM PHOTOGRAPHS BY S. WING, BOS- 


TON, TAKEN ABOUT FORTY YEARS AFTER THIS EVENT. 


as Haydn’s ‘Creation’ —and not only 
understood here, but so well represent- 
ed here, as to make it a pleasure for 
those who have heard the best music 
in the world to hear this. I have not 
forgotten when it was performed some 
fourteen or fifteen years ago, in the 
great Cathedral at Baltimore, by a 
troop of performers who had been re- 
hearsing for months, and were selected 
from a population, remarkable for their 
musical taste and sensibility ; yet strange 
as it may seem — owing partly to the 
bad position of the organ there, and 
partly by the unlucky reverberations 
of the intersected ceiling — the effect of 
the first passages there, was frequently 
inferior to what we have just heard in 
the wooden meeting house of the Sec- 
ond Parish Church not withstanding 
the pomp and power of the Baltimore 


performance and their instrumental 
force. 

“We would urge all parents, whether 
lovers of Music or not, themselves and 
whether they understand it or not —to 
take their children and their families 
with them to-morrow night. If they 
can hear and feel, that is enough—they 
will get their money’s worth, we prom- 
ise them; and learn something of that 
which, if they miss this opportunity; 
may continue forever unintelligible to 
them —the astounding power of har- 
mony; Half a dozen efforts like this 
and the Character of Portland will be 
established for a Century.” 

Another, signing himself “M,” wrote 
as follows: 

“Messrs. Editors, — Surprised and de- 
lighted as we have been with the per- 
formance of this wonderful specimen 


aes 


MUSIC OF THE STATE OF MAINE— 1836-1856 73 


of Sacred Music, my views of philan- 
throphy will not permit me to refrain 
from directing others to the same source 
of gratification. 

“Many, we fear, will deny them- 
selves the privilege of attending the 
Oratorio from the simple fact that they 
have no conception of the majestic gran- 
deur of the piece to be performed; and 
many more perhaps, from fear that they 
have no talent to appreciate its beauty. 
But to be gratified and even enraptured 
with this production it is not necessary 
that a man should be familiar with the 
laws of ‘acoustics,’ or with music as a 
science ;— he only needs to have a soul. 
Whoever can listen to this without deep 
emotion, however defective his educa- 
tion or uncultivated his taste, might 
have good reason to suspect that he has 
mistaken his species and is not what he 
thought himself to be—a human being. 

“We were not a little astonished at 
the array of musical talent and culture 
exhibited on the first evening of the 
performance in this city (the only op- 
portunity we have had of judging). All 
the voices were good, well adapted to 
the parts assigned them; and the whole 
was sustained throughout, with a spirit 
and power which did honor, not only 
to the performers themselves but to the 
city to which they belong. The effect 
upon the audience was indicated by the 


 death-like stillness which generally pre- 


vailed and by the tears of many during 
some particular parts. Who that were 
there on this occasion can ever read 
again with indifference the first chap- 
ter of Genesis? Who could remain un- 
affected with the majesty and power 
and goodness of Jehovah, therein ex- 
hibited? How did man, the most per- 
fect speciman of creative power, rise in 
his native dignity before our minds, 
while the part was sung which com- 
menced with ‘In native worth and 
honor clad!” 


During the second performance of 
the Oratorio a marvellous thing hap- 
pened, for one of the most spectacular 
appearances of the aurora borealis 
ever seen in this part of the country 
occurred. 

So brilliant was the display on this 
occasion, and so strange was the fact of 
its occurring at the particular hour that 
it did, that for more than seventy-five 
years frequent references were made 
to it by the older residents of Port- 
land as the strangest phenomenal co- 
incidence ever to have occurred in the 
State. 

Samuel Thurston, in his Remznis- 
ences, writes of this, “One of those re- 
markable occurences, rare in history, 
took place in Portland about seventy: 
years ago during the performance of 
the oratorio of the ‘Creation’ by the 
Sacred Music Society at the old Second 
Parish Church on Middle Street. While 
the society was singing the chorus, “The 
Heavens are telling the Glory of God,’ 
there came the most extensive and bril- 
liant auroral display the oldest inhabi- 
tant had ever seen. The entire heavens 
were aglow, being enveloped in corus- 
cations of highly colored light, stream- 
ing from the zenith to the horizon in 
ever-changing form and hue, making a 
scene of grandeur and beauty inde- 
scribable. The performance halted while 
the audience left the church to behold 
the wonderful transformations of radi- 
ant beauty which filled the heavens.” 

Those who took part in this produc- 
tion of the “Creation” had reason to 
feel, as they stepped out of the hall to 
the snow-covered sidewalk, and beheld 
the gloriously resplendent Heavens, that 
it was as if the Creator, Himself, had 
taken this method of bestowing His 
benediction upon this performance of 
Sacred Oratorio—a marvellous mani- 
festation of Celestial approval. 

“The Audience last night,” it stated 


74 MUSIC AND MUSICIANS OF MAINE 


in the morning paper, “was the most 
numerous, we believe, ever assembled 
at a Concert of Sacred Music in Port- 
land and the attention with which they 
listened was evidence of their gratifi- 
cation.” 

On the twenty-seventh the Oratorio 
was again repeated to another large 
house. for the benefit of the Portland 
Benevolent Society, and a good sum 
was realized for this worthy charity. 

In a long editorial in the Advertiser 
of January thirty-first this evening 
journal said in part: “Our musical fes- 
tival terminated on Friday evening last. 
The performances were better than on 
either of the preceding evenings. Every 
part was well sustained and the audi- 
ences, many of whom had listened to 
the ‘Creation’ for four evenings in suc- 
cession went away delighted and more 
desirous than ever to hear it repeated. 
This is certainly a new era in the Mu- 
sical history of Portland. The people 
are at last awake and for the future, 
we may count upon increasing atten- 
tion to the divine art.” 

And so this first really great Maine 
Music Festival, with its four perform- 
ances of the “Creation,” passed into 
history, and as had been prophesied 
“The character of the town musically 
had been established for the next fifty 
years to follow.” 

In the fall and winter of 1837 the 
Portland Sacred Music Society pre- 
sented the oratorio “David” complete 
in such a manner as to call forth a de- 
tailed criticism by the newspaper critic 
the following evening, so long that a 
portion of it occupied two columns of 
fine type in that issue; and “Part 2nd” 
(nearly two columns additional) was 
printed the following evening. 

Quoting from this the critic says: 

“Take the whole performance to- 
gether, it was astonishing — astonish- 
ing for the faithfulness, the purity, the 


sustained strength and the general ex- 
pression of the performers, whether 
acting together as a body or separately 
in groups or individually,—the per- 
formers of last evening were all of the 
working-classes, operatives — men who 
are regarded by common consent as the 
uneducated. Uneducated! would that 
we had time here to see what is meant 
by education! — They were non-profes- 
sional to a man—nay, there was but 
one professional singer among the 
whole —enough, is it not? to show 
what the operatives can do if they 
will.” 

Of Francis Ilsley, who sang the part 
of David, and Esther Ilsley, who sang 
that of David’s Sister, he says: “Two 
admirable voices —thorough-bred mu- 
sicians;” Of Francis Ilsley, that “In 
fulness, strength and modulation he 
has gained prodigiously since last 
year!” and then refers to “the sweetness 
ful!” and then refers to “the sweetness, 
clearness, tempo and strength of her 
voice.” Of Cyrus Staples as Goliath, 
he adds, his “body of tone and power- 
ful manly voice we regard as of the 
greatest value”; of Miss Brazier as the 
Daughter of Saul, “another admirable 
voice — brilliant and clear like the note 
of a silver bugle”; of the Recitative of 
Saul sung by Hosea Ilsley, “given with 
prodigious power and simplicity”; of 
Arthur Ilsley as Jonathan, “This fine 
voice,” sang the recitative “with an 
amplitude and smoothness which sat- 
isfy the heart as well as the ear”; of 
William C. Beckett as the Messenger, 
“a fine voice with a good musical 
taste”; of Mr. Kingsbury singing in 
the part of High Priest, that it was 
magnificent, and “the rich deep voice 
of the performer was worthily min- 
istered unto by the trumpet and other 
instruments.” 


z) 


MUSIC OF THE STATE OF MAINE— 1836-1856 75 


Of the chorus, he concluded, “‘to 
tell the truth we expected the Portland 
Sacred Music Society to break down 
for a while,—not forever——under this 
very effort and for that reason have not 
so much as attended a rehearsal. But 
now—now that they have triumphed— 
now that even with a first performance 
in public, they have not even got ashore 
for a moment and never failed in time 
—we give it up. They can do anything 
now.” ‘““The house was crowded to the 
ceiling.” 

In the fall of 1838 the Portland Sa- 
cred Music Society gave another Mu- 
sical Festival, presenting the Oratorios, 
“Creation” on Monday evening, Sep- 
tember 24; “David” on the evening of 
September 25; “The Messiah” during 
the afternoon of September 26; “Da- 
vid,” again, on the evening of Septem- 
ber 27; and ‘“The Messiah,” repeated, 
on the evening of September 28, so 
Wednesday, September 26, 1838, marks 
the date on which “The Messiah” was 
presented for the first time in the State 
of Maine. The chorus was “accom- 
panied by a powerful organ aided by 
an efficient orchestra from Boston.” 

The influence of the Portland Sacred 
Music Society on the music in the 
churches was already apparent. The 
evening Advertiser in “A word to the 
Portland Public” said “we beg you to 
remember first that we owe the Port- 
land Sacred Music Society a heavy 
debt which now we can in part cancel. 
They have improved your Church Mu- 
sic wonderfully and in a manner and 
to an extent which makes the church 
choirs of Portland as good almost as 
the very best in the country.” 

Of the performance of “The Mes- 
siah” an advance notice in the Argus 
thus comments on the voice of one of 
the soloists —Susan Whitney. 

“This magnificent Oratorio of Han- 
del will be performed for the first time 


| ae 


A 8ACRED 


AV ORt. 


RY HANDEL, : 
‘To = PERFORMED BY THE 


pope Sacred Music Society, 
ON WEDNESDAY AFTERNOON, 
SEPTEMBER 26, 1838, 
At the zd P Ferien cerns: Mowe 


Es ceeeet codec teooraredscon eats SEES 
tee tos eee 2 eC IE SERENE 


Overture. | 

-RECITATIVE, “Comfort ye, comfort ye my ope saith 
your God ; speak y ye comfortably to Jerusalem and cry unto her, 
that bar warfare is ae that her is par- 
doned. 

The voice of him that fee in the wider: ‘prepare ye 
the way of the Lord, make straight in the desert a high my for 
our God. 

AIR. Every. va ie shall he exalted, and every mouniain and 
hill made low ; the crooked straight, and the rough places plain. 

CHORUS. And the glory of the Lord shall be revealed and 
all flesh shall see it together ; for the mouth of the Loe hath 
spoken it. . — 

RECITATIVE. Behold a Virgin shall conceive au bear a 
Son, and shall call his name Emanuel : God with ug. 

AIR AND CHORUS. 0 thou that tellest good tidings No 
Zion, get thee up into the high mountain ! O thou that fell est 
wood tidings to Jerusalem, lift up thy voice with strength ! Jif it — 
up, be not afraid! Say unto the cities of Judah, behold yous 


REPRODUCTION OF THE FRONT PAGE OF THE PRO- 
GRAM USED AT THE FIRST PERFORMANCE OF “THE 
MESSIAH” IN THE STATE OF MAINE. PHOTO- 
GRAPHED FROM THE ORIGINAL LOANED BY REV. 
VINCENT SILLIMAN, D.D. 


in our State this afternoon. All who 
wish to hear the best alto voice this 
side of St. Peter’s, Rome should hear 
Miss Whitney in “The Messiah’— with 
an almost perfect voice, Miss Whitney 
displays, correct taste and good execu- 
tion.” 

It is interesting to compare the dates 
of the early performances of oratorio 
in America with those given in Europe 
in order to show the relative advance 
of singing societies in the presentation 
of choral music in the larger forms, in 
the old country and in the new. 

It is said that the first performance 
of an oratorio in England was at the 
Haymarket Opera House, Haymarket, 
in 1732, when the production was Han- 


76 MUSIC AND MUSICIANS OF MAINE 


SUSAN WHITNEY (FOX), WHO AT THE AGE OF 
TWENTY-THREE SANG THE CONTRALTO SOLOS ON 
THE OCCASION OF THE FIRST PERFORMANCE OF 
‘iE MESSIAH” IN THE STATE OF MAINE, AND OF 
WHOM A CRITIC SAID, HERS WAS “THE BEST ALTO 
VOICE THIS SIDE OF ST. PETER’S, ROME. FROM A 
PHOTOGRAPH MADE ABOUT 1870. 


del’s “Esther” which had been written 
nine years before. 

“The Messiah,” Handel’s later com- 
position, was brought out at Dublin in 
1742, one year after its completion. 
“The Messiah” was performed in Trin- 
ity Church, New York, on January 9, 
1770, and was 
again in 1772. It is not known for a 
certainty that these New York presen- 
tations were complete performances, 
but they were probably among the first, 
if not the very first in this country. 
The Handel and Haydn Association of 
Boston, which had been organized in 
1815, gave their first performance of 
this complete oratorio on December 25, 
1818. It was nearly twenty years after 
this that “The Messiah” was first per- 
formed in Maine. This was, as has 


repeated in 1771 and_ 


hitherto been stated, at the concert 
given by the Portland Sacred Music 
Society in Portland in September, 1838. 

Haydn’s “Creation” was first per- 
formed privately at Schwartzenberg 
Palace on April 29, 1798, and later 
performed publicly at the National 
Theater in Vienna in that year. Its 
first performance in London was in 
1800. In America, it is said, that the 
Moravian nuns sang this oratorio at 
Bethlehem, Pa., in 1811. The Handel 
and Haydn Society of Boston gave 
their first complete presentation of 
this oratorio in 1819, and the Portland 
Sacred Music Society gave the first 
complete performance of the “Crea- 
tion” in Maine in 1837. 

It was not until 1879 that an ora- 
torio was presented in its entirety in 
Chicago, when “The Messiah” was 
sung (followed by the “Creation” in 
1880). 

Of interest, too, in this connection is 
the statement that the first concert of 
any kind ever given in Chicago was 
not until 1835 and that no orchestra 
played in that city until 1850 when a 
group of German revolutionists, who 
had been hired to work on the farm of 
a Mr. Dyrenforth, as laborers, per- 
formed under the direction of their 
master at a concert, on which occasion, 
it was discovered, that they were much 
better musicians than farm hands. 

Shortly after the close of this Mu- 
sical Festival Francis L. Ilsley left 
Portland. His departure was a distinct 
loss to the community, musically, as 
he had been untiring in his efforts to 
assist the Portland Sacred Music So- 
ciety in its undertakings since its be- 
ginning. Mr. Ilsley had been formerly 
a member of the old Beethoven Society. 

To the Ilsleys, the City of Portland 
owes much for its progress in music. 
Of this remarkable family Samuel 
Thurston writes: | 


Ney 


MUSIC OF THE STATE OF MAINE— 1836-1856 - 


“The Ilsley family was composed of 
seven children, four boys, all tenors, 
and three girls, all sopranos. Ferdi- 
nand whose wife’s name was Isabella 
(though they were not Spaniards) was 
a superior violinist as well as a tenor 
singer. He moved to New Jersey and 
taught music in the public schools for 
a long term of years. He ranked high 
in his profession. Arthur was a solo 
singer in the Sacred Music Society and 
conductor also a portion of the time. 
He also taught singing schools in the 
city and neighboring towns and was 
tenor in the Park St. (then Second 
Unitarian) Church. Frank (or Fran- 
cis) was a fine tenor singer in church 
and oratorio. George had an excep- 
tionally fine tenor voice and was a 
very popular singer in this locality 
when a young man, but he had an 
attack of Western fever which was 
very prevalent here about that time 
and which took many people off. Miss 
Elizabeth was one of the prominent, 
and I may say the most prominent, 
church and oratorio soprano in Port- 
land for several years. Esther, who be- 
came Mrs. Branscomb, was one of the 
same sort, only a little less prominent 
than her next older sister. Ann was in 
the category only a little less promi- 
nent than her next older sister. A sin- 
gular point in this case is that so far 
as I know, the parents were not par- 
ticularly musical. I knew them several 
years but never heard of either as sing- 
ing or playing an instrument.” 

The preservation of the names of the 
soloists at the various concerts of the 
Portland Sacred Music Society did not 
seem of sufficient importance to some 
of the secretaries of the society to be 
written down in the records, so this 
partial list, gathered from many sourc- 
es, will have to suffice. 

In 1837 the names of Arthur L. Ils- 
ley, Esther Isley, Francis Ilsley, Cy- 


rus Staples, Mary M. Brazier, Hosea 
Ilsley, William C. Beckett and Joseph 
Kingsbury are found on the old pro- 
grams of the society. 

In 1841 Harriet N. Cammett, Julia 
Norton, Esther Ilsley and Mary M. 
Brazier are mentioned. 

In 1843 Cyrus Staples, A. L. Isley, 


. Esther Ilsley, Harriet Cammett, H. S. 


Edwards, Ann M. Ilsley, Elizabeth 
Weeks, Harriet Beale and Mrs. E. D. 
Branscomb (née Esther IIsley) appear 
prominently. 

In 1844 Harriet N. Cammett, Mrs. 
S. W. Fox (née Susan Whitney), Mrs. 
E. D. Branscomb, H. S. Edwards, Eliz- 
abeth Weeks, A. L. Ilsley and Cyrus 
Staples were soloists. 

In 1845 are found the names of H. 
S. Edwards, Mrs. S. W. Fox, Mrs. H. 
M. Sampson, Cyrus Staples, A. L. Ils- 
ley, Elizabeth Weeks and Harriet N. 
Cammett; and in 1846 A. L. Ilsley, Cy- 
rus Staples, Mrs. E. D. Branscomb, 
Mrs. S. W. Fox, A. P. Pennell, Harriet 
N. Cammett and G. J. Webb. 

In 1847 the solo parts were upheld 
by G. J. Webb, Mrs. Harriet F. Ayers 
and Martha Webster. 

In 1848 the names of several of those 
who were later to enjoy: popularity 
with Maine audiences for more than a 
decade appeared. The soloists for this 
year were John L. Shaw, Samuel Thurs- 
ton, G. J. Webb, Cyrus Staples, Mrs. 
M. E. Blanchard, Mrs. Harriet F. 
Ayers, Sarah E. Polleys, Elizabeth 
Weeks and Ella Merrill. 

In 1851 Hermann Kotzschmar, F. 
Nichols Crouch, Harriet N. Cammett, 
Mrs. M. E. Blanchard, Mrs. Bradley, 
Ellen Merrill and John L. Shaw made 
appearances in solo parts. 

In 1852 Harriet N. Cammett, H. So: 
Edwards, Hermann Kotzschmar and 
Ellen Merrill were numbered among 
the principals. 


78 MUSIC AND MUSICIANS OF MAINE 


In 1853 A. Arthurson, A. P. Whee- 
lock, Joseph Poor, Harriet N. Cam- 
mett, Lydia Harris, Abbie Cammett, 
Jane Twitchell and Miss Higginson 
were assigned principal numbers. 

Others who sang before the society 
were George A. Thomas and Mrs. 
Sarah Kingsbury. 

At what appears to have been the 
last concert given by the Portland Sa- 
cred Music Society (April 13, 1854) A. 
L. Ilsley, Harriet N. Cammett, Cyrus 
Staples and Harriet F. Ayers were the 
soloists when selections from the Ora- 
torio “David” were sung. 

The Portland Sacred Music Society, 
destined to carry on for seventeen 
years the,work which the Beethoven 
Musical Society had begun, was formed 
in May, 1836, and incorporated by 
special act of the Legislature in March 
of the following year. Its incorpora- 
tors were: James Furbish, Edward 
Richardson, Francis L. Ilsley, Ferdi- 
nand I. Ilsley, Horace V. Bartol, Abner 
Lowell, Hosea Ilsley and James R. 
Milliken. 

The following were the officers of 
the Portland Sacred Music Society for 
the years stated: 

Presidents: Edward Gould, 1836-1840; Samuel 
R. Leavitt, 1843-1846, 1848, 1849, 1852; Horace 
V. Bartol, 1847; James R. Milliken, 1850-1851; 
Abner Lowell, 1853; William P. Stodder, 1854. 


Vice Presidents: Horace V. Bartol, 1837; Sam- 
uel R. Leavitt, 1838-1840; James R. Milliken, 
1843-1846; William P. Stodder, 1847-1849; Sam- 
uel Thurston, 1851; Benjamin C, Megquier, 
1852; Charles W. Robinson, 1853-1854. 

Secretaries: E.. P. Haines, 1836, 1843; Horace 
V. Bartol, 1837-1842, 1844-1846; Charles W. 
Robinson, 1847-1852; Parmenio W. Neal, 1853- 
1854. 

Treasurers: Edward Gould, 1840-1846; Al- 
bert P. Pennell, 1847-1848; Charles W. Robin- 
son, 1849-1852; Horace V. Bartol, 1853-1854. 

Librarians: T. B. Moses, 1840; Parmenio W. 
Neal, 1843-1846, 1852; E. R. Neal, 1847-1851; 
George H. Pearson, 1853-1854. 

First Vocal Conductors: J. Kingsbury, 1836- 
1840; Arthur L. Ilsley, 1843-1847, 1851-1854; 


Charles G. Young, 1848; John L. Shaw, 1848; 
William P. Stodder, 1848; George A. Thomas, 
1849. 

Second Vocal Conductors: A. P. Wheelock, 
1840; William Small, 1843-1844; Horace V. Bar- 
tol, 1845, 1846, 1851; Cyrus Staples, 1847, 1850; 
James R. Milliken, 1849; Joseph H. Poor, 1853; 
John L, Shaw, 1854. 

Organists: David Paine, 1837-1841; H. S. Ed- 
wards, 1841-1850; Hermann Kotzschmar, 1851- 
1857. 

Among those who served as Councillors of the 
society were: Albert P. Pennell, Henry S. Ed- 
wards, I. P. Chamberlain, Abner Lowell, Horace 
V. Bartol, Ainsworth Carlton, Joshua S. Shaw, 


James Bailey, Thomas J. Sparrow, William 


Small, William P. Stodder, Parmenio W. Neal, 
Zebulon Black, George A. Thomas, E. P. Haines, 
Cyrus Staples, Arthur L. Isley, Thomas Wright, 
J. L. Paine, Benjamin C. Megquier, John L. 
Shaw, E. R. Neal, and John Cammett. 


Edward Gould, the first President of 
the Portland Sacred Music Society 
(1836-40) and its Treasurer from 1840 
to 1846, was cashier of the Manufac- 
turers and Traders Bank in Portland 
and lived on Brown Street. . 

James Furbish, one of the incorpo- 
rators of the society, was a teacher and 
lived at John Kingsbury’s place on 
Free Street, | 

Horace V. Bartol, one of the incor- 
porators of the society, and afterwards 
its Secretary, and its President in 1847, 
was a member of the firm of Staples 
and Bartol, proprietors of an iron 
foundry at No. 1o York Street. 

Ferdinand I. Ilsley, one of the incor- 
porators of the society, and a former 
member of the Beethoven Musical So- 


ciety, was a superior violinist and tenor 


singer. He was born in Falmouth, 
Maine. At the age of twelve he sang 
the alto solos in Handel’s “Dettengen 
Te Deum” at the concert given in 
April, 1820, by the Beethoven Musical 
Society, reference to which has been 
made in the preceding chapter. He 
taught music in the public schools for 
a long time, though not in Portland. 
In 1838 he returned to Portland and 


MUSIC OF THE STATE OF MAINE— 1836-1856 79 


taught piano, violin, violoncello and 
double bass. He ranked high in his 
profession. 

Francis L. Ilsley and Hosea Ilsley, 
two of the incorporators of the society, 
were both formerly members of the 
Beethoven Musical Society. Francis L. 
Ilsley delivered a number of addresses 
on music in Portland and other towns 
of the State. 

Abner Lowell, one of the incorpora- 
tors of the society and its President in 
1853, was a member of the firm of Lo- 
well and Senter, Watchmakers and 
Jewelers at 70 Exchange Street. He 
lived at No. 2 Smith Street. 

James R. Milliken, one of the incor- 
porators of the society (1837) and its 
President in 1850 and 1851, was its 
second vocal conductor in 1849. He 
was connected with the firm of E. 
Wyer & Co. and lived at 38 Franklin 
Street. He played the contra basso in 
the orchestra. Mr. Milliken was one of 
six to give and install the organ in the 
Chestnut Street Church in Portland, 
the first organ to be placed in a Meth- 
odist Church in Maine. 

Edward Richardson, one of the in- 
corporators of the society (1837), was 
cashier of the Bank of Portland and 
lived on Congress Street at the corner 
of Hampshire. 

Joseph Kingsbury, the first vocal 
conductor of the society (1836 and 
1840), was a clerk at Hall & Conant’s. 

Samuel R. Leavitt, Vice President 
of the society (1840) and its President 
in 1843, 44, 45, 46, 48, 49 and 52, was 
a sailmaker on Long Wharf and lived 
at 15 Myrtle Street. 

Alonzo P. Wheelock, the second vo- 
cal conductor of the society (1840), 


was a prominent tenor soloist and 
teacher of music. He conducted a sing- 


ing school in Portland for a time and 
“specialized in Glee Singing.” He lived 


‘ on Free Street, near Oak. 


Joseph Brooks, one of the Trustees 
of the society (1840), was a member 
of the firm of Brooks & Leavitt, sail 
makers on Long Wharf, and lived at 
24 Summer Street. 

Jacob S. Paine, one of the Trustees 
of the Portland Sacred Music Society 
(1840), a brother of David Paine, or- 
ganist, teacher and composer, and of 
William Paine, a trombonist in Chand- 
ler’s Band, was proprietor of a music 
store in Portland from 1845 until the 
time of his death. 

Notable dates and achievements of 
the Portland Sacred Music Society in- 
clude: First public performance by the 
society, October 19, 1836, at the High 
Street Church; first complete perform- 
ance, in the State of Maine, of any Or- 
atorio (the “Creation’”’), April 24, 1837, 
at the old Second Parish Church on 
Middle Street; first performance of 
“The Messiah” in the State, Septem- 
ber 26, 1838, at the Second Parish 
Church; concert at the dedication of 
the New Exchange Hall, January 22, 
1840, and the performance of the 
“Creation” at the Exchange Hall on 
February 10, 1843, at which Asa War- 
ren, the distinguished leader of the 
Handel and Haydn Society’s orchestra, 
conducted the instrumental perform- 
ance, when he “was the only foreign 
one present”; eleven performances of 
Haydn’s “Creation” (six times in 1837, 
once in 1838, twice in 1843, and twice 
in 1844); seven performances of Neu- 
kom’s Oratorio, “David” (three times 
in 1837, twice in 1838, and twice in 
1839); two performances of Handel’s 
Oratorio, “Samson” (both in 1846); 
three performances of “The Messiah” 
(twice in 1838 and once in 1841; two 
performances of Rossini’s “Stabat Ma- 
ter” (both in 1851); two performances 
of Haydn’s “Third Mass” (in 1852 
and 1853, respectively); two perform- 
ances of Handel’s “Grand Dettengen 


80 MUSIC AND MUSICIANS OF MAINE 


Te Deum” (both in 1851); and the 
performance of Romberg’s “Harmony 
of the Spheres” in 1852. 

A concert given in the New Ex- 
change Hall in January, 1840, when 
Romberg’s “Power of Song” and cho- 
ruses from Handel, Haydn and Mozart 
were performed, was a brilliant occa- 
sion, long remembered by those who 
were fortunate enough to be in the 
audience. The beautiful dome which 
arched the hall in the Exchange Build- 
ing was studded with numerous lamps 
which, as an enthusiastic writer de- 
scribed, made the spectator feel “as if 
among enchanted scenes.” 

In April, 1839, a concert at the Park 
Street Church was so well attended 
that it was “too crowded for comfort, 
and many turned away.” ‘The per- 
formance was said to have been perfect 
in both vocal and instrumental work. 

At the concert given in May, 1841, 
Henry S. Edwards, who had succeeded 


Mr. Paine as organist of the society, © 


appeared for the first time with only 
one day’s preparation. From that hour 
until the time Hermann Kotzschmar 
came to Portland Mr. Edwards, then 
a young man, was generally considered 
first as organist and teacher of the 
organ and piano in the State. He was 
organist and director of music at High 
Street Church for many years, and was 
accompanist of the Portland Sacred 
Music Society and later of the Haydn 
Association. On the advent of Mr. 
Kotzschmar, Mr. Edwards realized that 
a master had appeared, and generously 
resigned his position as organist of the 
society, that Mr. Kotzschmar might 
succeed him. 

Other events long remembered by 
the members of this society were: the 
lecture on music, before the society, by 
Rev. Mr. Chickering at the High Street 
Church in January, 1844; the lecture 
on music by E. Howe, Junior, then a 


resident of New York, in September of 
the same year; the excursion, by train, 
to Gorham, followed by the concert in 
the evening at the church, after which 
a bountiful repast was served the mem- 
bers of the chorus in the Seminary 
Building; the excursion and picnic at 
New Gloucester in July, 1851, and the 
concert at the First Parish Church in 
the following October when the society 
was assisted by the orchestra of the 
Germania Society of Boston; the con- 
cert at Lancaster Hall, February 14, 
1852, when, in addition to the “Stabat 
Mater” and other classical selections, 
Kotzschmar played his “Dedication 
Ode” on the piano, Edwards and Kotz- 
schmar played an overture for four 
hands, and Miss Cammett sang two 
operatic arias, “Qui la voce,” from the 
Opera “I Puritani,” and “Care Cam- 
pagne,” from “La Sonnambula” (the 
first time, it is believed, that secular 
music was sung at a concert by the 
Portland Sacred Music Society), and 
the complimentary concert to Hermann 
Kotzschmar in Lancaster Hall in June, 
1852, when a Chickering grand piano 
was secured for the occasion and at 
which the vocal soloists were Miss 
Cammett and Ellen Merrill. 

There is little mention regarding the 
orchestra of the society in its records 
until 1845, and even then none of the 
names of the members appear, but the 
instrumentation as given at that time 
was: Ist and 2nd violins, viola, basso, 
cello, 1st and 2nd flutes, 1st and 2nd 
trumpets, 2 trombones, ophecleide and 
horns. 

At some of the rehearsals, also, the 
members of the Sacred Music Society 
enjoyed instrumental and vocal music 
by accomplished visitors from Boston 
and other cities, while, at others, they 
had the rare opportunity of studying 
under guest conductors of wider ac- 
quaintance with the choral works of 


MUSIC OF THE STATE OF MAINE— 1836-1856 81 


the great composers and from them 
they were able to get a deeper insight 
into the beauties of the numbers which 
they were rehearsing. In September 
and October, 1835, Mr. Greatorex of 
Boston led the chorus on a number of 
occasions. 

In 1846 and 1847 William Keyser, a 
Boston violinist, played at several of 
the rehearsals; E. R. Chapman of Lon- 
don conducted the chorus. 

From April, 1848, to February, 1851, 
no mention of any concert having been 
performed is made in the records of the 
society, though weekly rehearsals were 
regularly held. It is to be feared from 
some personal allusions in the records 
that all the members were not in har- 
mony with those who were endeavor- 
ing to put the best interests of the or- 
ganization ahead of selfish desires. The 
society, for some reason, was without a 
permanent conductor during this peri- 
od. In 1848 four different persons 
served as conductors of the chorus, so 
that none was able, during this period, 
to bring the chorus to that state of per- 
fection necessary to the presentation of 
a public concert in a satisfactory man- 
ner. 

About this time there arrived in 
Portland one who was considered, by 
many of his local contemporaries, as, 
perhaps, the most eccentric musical 
character that has ever been domiciled 
in that city. This was Prof. Frederick 
William Nicholls Crouch. He intro- 
duced himself to the community by 
giving a concert in the original City 
Hall, at which he sang his famous com- 
position, “Kathleen Mavourneen,” be- 
sides several bass solos from each of 
the oratorios, “The Messiah” and 
“Creation.” Like most Englishmen he 
knew these great oratorios by heart, 
and had heard some of the world’s best 
singers in them many times. He was a 
basso profundo, sang well and was par- 


ticularly good in the recitatives. His 
voice was of wide range and excellent 
quality and he sang low D in the bass 
to high G sharp in the tenor. On this 
occasion the hall was well filled with 
an appreciative audience and the pa- 
pers gave the concert high praise. 

The Sacred Music Society was in 
desperate straits for a conductor and 
at a meeting of the Government on 
May 20, 1850, it was voted “that we 
recommend to the Society to engage 
Mr. Crouch to lead the Society.” The 
committee chosen at this meeting to 
confer with Mr. Crouch reported that 
he was willing to serve the society as 
a conductor for the sum of three hun- 
dred dollars per year, and it was voted 
to engage him, but at an adjourned 
meeting held nine days later a recon- 
sideration of the vote was taken, and 
no conductor was chosen. 

Incrimination and recrimination and 
threats of lawsuits followed; the mem- 
bers took sides for and against Mr. 
Crouch and the organization was near- 
ly rent asunder. 

The next meeting of the society was 
conducted by A. Arthurson, also an 
Englishman, and a soloist. Though he 
was not a great artist, he was a pleas- 
ing vocalist who could give a recitative 
in as perfect a manner as one could 
wish. He sang at the First Parish 
Church for about a year, and, while re- 
siding in Portland, was called to Bos- 
ton to sing the tenor solos for the Han- 
del and Haydn Society. Mr. Arthur- 
son served the society well for the bal- 
ance of the year and it succeeded in 
giving three concerts under circum- 
stances that at times must have been 
quite disheartening. 

Early in September, 1854, at a spe- 
cial meeting of the society, the records 
state, “members generally expressed 
themselves as tired of going on as they 
had been, as there is no Tenor in the 


82 MUSIC AND MUSICIANS OF MAINE 


F. NICHOLS CROUCH, F.R.S., COMPOSER OF “KATH- 
LEEN MAVOURNEEN. FOR SOME YEARS A RESI- 
DENT OF PORTLAND WHERE HE DIED IN POVERTY 
(1896). PHOTO BY BACHRACH, BALTIMORE, 


City that can read our Music and with- 
out them we cannot make a Chorus.” 
At the regular meeting one week 
later A. L. Isley was again elected Ist 
Vocal Conductor of the society. But 
the society’s time was nearly run, for, 
on September 26, 1854, it was voted to 
appoint a committee to confer with Mr. 
Bartol on his proposition “to take the 
property of the Society and pay the 
debts,” and also that “this Committee 
have full power to conclude a bargain 
for the best interest of the Society.” 
On October 4, 1854, is written, “on 
motion of Mr. Bartol to continue our 
rehearsals as formerly with renewed 
energies, the opinion of those present 
was called out and all seemed to con- 
cur in the opinion that if the liabilities 


of the Society were removed, we might 
resume our rehearsals with pleasure 
and profit.” 

“An offer was made by Mr. Bartol 
to take our resources and effects and 
assume our liabilities, hire the hall and 
give the Society the use of it gratis and 
they might as soon as they chose re- 
deem them. On motion of Mr. Shaw 
that we continue our rehearsals, it was 
accepted,” and on October 11, 1854, at 
a meeting at the store of Tolford and 
Co., on Free Street, the records briefly 
state that, “The agreement between 
Mr. Bartol and the Society was pre- 
sented and accepted, the business done 
and receipts passed.” 

The next and last entry in the Rec- 
ord Book, which is dated February 9, 
1857, briefly states that “The Society 
never met again, but a new one was 
organized this evening to be called the 
Haydn Association. Attest, 

P. W. Neal, Sec’y.” 


And thus passed the ancient and hon- 
orable Portland Sacred Music Society. 
The high standard which it set in Cho- 
ral Music in Maine has been reflected 
in the music in the churches, musical 
organizations and clubs throughout the 
State for more than ninety years, and 
its influence will doubtless be extended 
through a century more. Among the 
side lights in the history of this old so- 
ciety are notations on the margin of 
the “Roll-book.” Against the name of 
one member was jotted two significant 
words. These were, ““Turned out.” An- 
other noted the fact that “A. P. Mor- 
gan paid part of his dues in Charcoal.” 


Frederick Nicholls Crouch 


The story of the life of F. Nicholls 
Crouch, who became the storm center 
of the tempest which threatened to 
wreck the Portland Sacred Music So- 


> 


- ye = 
Bh asst 
ame 


“aah 
Pd 


eae 


ge ea 


MUSIC OF THE STATE OF MAINE— 1836-1856 83 


ciety, and in fact did hasten its end, is 
one combining pathos and tragedy. 

An autobiographical sketch of his 
life, written about a year before his 
death, bears mute testimony to his ear- 
ly ambitions; his triumphs and failures ; 
and his modest pride in his achieve- 
ments as well as the bitterness which 
he cherished in his heart because of the 
treatment to which he had been sub- 
jected by his fellow men. 


Because Mr. Crouch’s career is so 


full of human interest, and, during his 
life in Portland, he became so well 
known among the musical people of 
Western Maine, the accompanying ex- 
cerpts from his diary merit more than 
passing attention. 

“As I write I am eighty-six years of 
age. So much has been published con- 
cerning my birth, parentage and edu- 
cation, most of it incorrect, that I make 
the subjoined statements over my own 
signature. I am the son of F. W. 
Crouch, the English violoncellist, and 
was born July 31, 1807. I will now jot 
down a few events in the life of a man 
once at the head of his profession, but 
now in the sere and yellow leaf of life; 
in early days, one of the band of the 
royal household, the Hanoverian tam- 
ily occupying the throne of England; 
now passing out with the debris on the 
ebbtide leading to oblivion. 

“My masters were Dr. William 
Crotch, composer of the oratorio, ‘Pal- 
estine’; Thomas Atwood, organist of 
St. Paul’s Cathedral; W. Hawes, mas- 
ter of the choir boys, Westminster Ab- 
bey and Chapel Royal. John Barnett, 
composer of ‘Mountain Sylph,’ and W. 
Watts, the Philharmonic secretary in 
London, also instructed me. I was per- 
sonally acquainted with Carl Maria 
von Weber, Sir Henry R. Bishop, Mey- 
erbeer, Rossini, Verdi, Balfe, Sir Mich- 
ael Costa, Sir Jules Benedict, Sir George 


* 


Smart, Paganini, J. beCramer, Czerny 
and Cipriani Potter, Charles Neate and 
Moscheles, all of whom were friends 
of Beethoven. 

“T played in quartet with most of 
these, and was, besides, intimate with 
all the authors, dramatists and journal- 
ists of that day in England. I played 
for twenty-one consecutive years in 
Drury Lane and Covent Garden the- 
atres, and so became acquainted with 
all the actors of celebrity, the Kembles, 
Keans, Macreadys, Sheridan, Knowles, 
the Wallacks and the Keeleys. I knew 
every operatic singer of note and had 
the satisfaction of bringing out Mali- 
bran, Pasta, Grisi, Ciuti, Damoreau, 
Viardot, Campaniri, Jennie Lind, Ca- 
rydon, Heizinger and Veluti. Felix 
Mendelssohn layed upon my breakfast 
table his rough score of the ‘Midsum- 
mer Night’s Dream’ Overture and com- 
missioned me personally to transcribe 
and make a partitur for the conduc- 
tor’s desk and complete parts for the 
Philharmonic Orchestra and to have 
the whole in readiness for the ap- 
proaching trial night. The score and 
the parts were in possession of Cal- 
kin, the Philharmonic librarian when I 
left England in 1849. 

“Four-fifths of a century have gone 
their course on the wings of time. My 
patron, the Prince Regent in the first 
quarter was crowned George IV, at 
which ceremony I officiated, as I did 
also at that of her most gracious Maj- 
esty Victoria. In 1822, by royal com- 
mand, I was installed student of the 
Royal Academy of Music, and while 
there, completed my first vocal work, 
‘Friendship’s Offerings, dedicated to 
the Countess St. Antonio. This was 
followed by a Cavatina (‘Swiss Song 
of Meeting’) for Malibran, and the bal- 
lad, ‘Zephyrs of Home.’ In 1830 I 
made an agreement with Charles Peace 
Chapman. in London, to represent his 


84 MUSIC AND MUSICIANS OF MAINE 


firm as a commercial traveler for the 
West of England. It was at that time 
that I commenced my series of Irish 
works, in which will be found ‘Kath- 
leen Mavourneen.’ The inspiration of 
writing Irish themes was conceived on 
horseback, while prosecuting my avo- 
cation as a traveler, under the walls of 
Endsleigh Castle, on the right bank of 
the River Tamar. This castle is the 
hereditary barony of the Dukes of Bed- 
ford and Tavistock. Here I planned 
the melody of ‘Kathleen Mavourneen.’ 

“At a Cornish fishing town, ap- 
proached by a chain cable steam ferry, 
I soon reached stabling and my hos- 
telry, the Bedford Arms. I slept hap- 
pily on my inspiration and early the 
following morning placed my idea upon 
paper. In the course of the day, I 
sang it to a few of my friends, who in- 
sisted on my going with them to a mu- 
sic-seller, by name P. E. Rowe. I sang 
the song to the craze of Mrs. Rowe, 
who made it then and there ‘sine qua 
non,’ that I should give it at a concert. 
My appearance at Mrs. Rowe’s con- 
cert sent me back (willy nilly) to my 
legitimate profession, in which I gath- 
ered around me a large class of pupils. 
In my teaching and sporting days I 
had unlimited success and finally built 
a large music salon, which I opened 
with a thirty thousand pound stock, 
combining pictures, ancient and mod- 
ern, stationery, music, pianos of all 
leading makers and instruments of 
every description.” 

Mr. Crouch finally left Devonshire 
to become precentor of the publishing 
department of D’Almaine & Co. 

Continuing, he writes: 

“I had an understanding to write for 
no other house for seven years. During 
the first twelve months, unlimited as to 
the number of pieces, I received twen- 
ty-five shillings on each composition; 
the second year, five pounds; third, ten 


id 


pounds; fourth, fifteen pounds, and so 
on in proportion. All this increased 
amount of brain work was accom- 
plished during the precentorship in 
D’Almaine’s house, not to make note 
of my literary writings, prose, songs 
and verses, and my lectures on Ireland 
and Masonic duties. 

“At one of the rehearsals of Verdi’s 
opera, ‘Masnadieri’ written for Jenny 
Lind, was Maretzek, chorus master, 
who made a proposition that we join 
in attempting to establish Italian opera 
in America when the London season 
closed. Accordingly by Nov. 10, 1849, 
I made my obeisance before an Amer- 
ican audience in the Astor Opera 
House, Eighth Street, New York. Our 
first opera was Rossini’s ‘Il Barbiere,’ 
and the executants were Bertucca, For- 
ti, Guidi, Benevantarea, Sanquirica, 
Novelli, Strini, Rosa Durando, the Pat- 
ti family, Benedetti and others. The 
results failed to recompense the outlay 
in New York, as well as in Boston, 
where the opera died of starvation, 
leaving me with a sick wife in a city 
where I did not know a living soul. 

“T finally met Jacques Paine, a mu- 
sic dealer of Portland, Me. By his ad- 


vice I lectured on the oratorio ‘Mes- 


siah’ before the Boston Handel and 
Haydn Society, the members singing 
the choruses. Finally, I was engaged 
as conductor and translated for them 
Rossini’s ‘Stabat Mater.’ I taught mu- 
sic in Boston for seven years, and then 
moved on to Philadelphia, where I con- 
ducted Doctor Rush’s Saturday con- 
certs. I also dramatized and arranged 
entire acts, marches, recitations and 
dialogues in English of Mehul’s ‘Jo- 
seph in Egypt’ and produced them un- 
der the patronage of a lady known as 
the good angel of everything of taste, 
worth and refinement. The morning 
after the public performance I received 
a letter of thanks and a check for $100. 


—_— 


Sere bir So 


7 hae > eu ae 

PR Ae | me, 

: aio ee, 
/ A 


a 
re 


pae™ 


kee okey tA ee 


i ee 


MUSIC OF THE STATE OF MAINE— 1836-1856 85 


“At the close of Buchanan’s admin- 
istration I moved on to Richmond, Va., 
undertaking a position as organist in 
Seeranrs +. &. Church. My success 
here was nipped in the bud by the in- 
vasion of Colonel Ellsworth and his 
zouaves, styled ‘Pet Lambs. of New 
York.’ I joined the Confederate cause 
by enlisting in the First Regiment 
Richmond Grays; Infantry. We were 
ordered to Norfork after the destruc- 
tion of the Cumberland and other ship- 
ping and the firing of the Portsmouth 
navy yards. 

“English principles made me a Con- 
federate soldier, and I fought in every 
conflict throughout the State of Vir- 
ginia, from Manassas to Appomattox. 
I was never sick a day, and never re- 
ported, and never had a furlough dur- 
ing the whole war. After the capitula- 
tion I turned laborer in the service of 
Thomas Perkins of Buckingham Court 
House. Gossip and bygone reputation 
asking who the laborer was, I resumed 
my profession and taught the resident 
families of Buckingham and Albemarle 
for a season. Afterward I was given a 
class in the University of Virginia, and 
finally returned to Richmond with a 
young Confederate wife, where we were 
looked upon as rebels by the citizens. 
Thus rewarded for our partisan serv- 
ices by hardships, privations and star- 
vation, we moved on to Baltimore, Md. 

“Want in its most bitter form prov- 
ing to me that there was no hope of re- 
sumption as a teacher, I took up the 
business of practical repairer of pianos 
and tuner and traversed the States of 
Virginia and North Carolina until 
physically worn down. I led months ot 
this life in defiance of army wounds, 
bodily prostration and old age and pro- 
duced a miserable return, until I man- 
aged to reach home, where I occasion- 
ally wrote a composition in music. 


“Remembrances of the past, poems, 
lyrics and other subjects connected 
with literature only keep the man of 
mind and brain at the starvation point 
all the time. Thirty-three American 
jobbers, publishers and dealers in mu- 
sic were publishing ‘Kathleen Mavour- 
neen’ and others of my writings and 
works, but I possessed no funds with 
which to copyright them. . . . Each of 
these music dealers has made thou- 
sands on the sale of my compositions, 
while the creator lives in poverty and 
beggary. But for the industry of his 
Confederate wife, who is a practical 
tailoress and dressmaker, the writer of 
‘Kathleen Mavourneen’ must have per- 
ished of actual starvation or terminated 
his career in the poorhouse.” 

The manuscript is signed “Prof. F. 
Nicholls Crouch, F.R.S., M.D., 111 
Penn St. Baltimore, Md.” 

Several years before his death Pro- 
fessor Crouch attempted to sing his 
“Kathleen Mavourneen” before a Bal- 
timore audience, but, time and expo- 
sure had made him so weak that his 
voice could scarcely be heard above the 
piano. He was, however, greeted with 
a storm of applause for which he bowed 
his thanks again and again. 

“One of Professor Crouch’s eccentric- 
ities,” says Thurston’s Reminiscences, 
‘was his fondness for snakes. At one 
time he had one hundred of them in 
the room where he gave his lessons, 
and frequently several of them, from 
the largest, four feet long, to the small- 
est would be crawling around on the 
floor. I have met him on the street 
when there would be one or two snakes’ 
heads peeping out under the side of his 
hat. He frequently carried one or two 
in his pocket. He and his wife lived in 
the room where he gave his lessons and 
kept his snakes.” 

Because of Mr. Crouch’s liking for 
reptiles and of his unusual manner of 


86 MUSIC AND MUSICIANS OF MAINE 


CASCO TRIO. LEFT TO RIGHT, GEORGE M, HOWE, 
JAMES S. STAPLES AND JOHN L. SHAW. FROM A 
DAGUERREOTYPE MADE BY GEORGE M. HOWE IN 


1845. 


handling and exhibiting them, many 
failed to understand him, and some in 
fact feared him, but his peculiarity 
was not so much, as may be suspected, 
an evidence of the hobby of an eccen- 
tric as an illustration of the enthusiasm 
of a naturalist. He was a close student 
of nature. He loved the birds and in- 
sects as well as the reptiles, all the 
lower animals, in fact, passionately. 
When he could not be with them in the 
fields, he would have them with him 
in his house. 

Mr. Crouch had the manner of a 
gentleman of education, polished and 
refined, but he was temperamental to a 
degree. 

His last days weie indeed lonely. Re- 
pelled by some, who detested his Eng- 
lish mannerisms; he was abhorred by 
others who loathed his reptilian eccen- 
tricities; and, because he had worn the 


uniform of the enemy, he was abomi- 
nated by the majority in the places in 
which he chose to dwell. He became 
estranged in those communities whose 
people failed to place appreciation of 
his art before their intolerance of his 
loyalty to the cause for which he chose 
to fight, or set the value of his accom- 
plishments ahead of their antipathy to 
his peculiarities. 

This world acclaimed composer, who 
had numbered kings and queens among 
his patrons; who had counted the 
greatest celebrities of his day among 
his personal friends; and who had val- 
iantly fought in many battles for a 
cause which he believed to be just; 
broken in health and spirit and too 
proud to ask for aid, died in the city 
of Portland, Maine, in 1896, when he 
was penniless and but for the timely 
help of a well remembered friend of 
many a struggling musician, must in- 
deed “have perished of actual starva- 
tion or terminated his career in the 
poorhouse.” His is one of the saddest 
stories in the musical history of Amer- 
ica. 

As late as 1845 there was no regular- 
ly organized male quartette in Portland. 
There was a male trio, however, which 
practiced one evening each week and 
sang on many private and some public 
occasions. George M. Howe was first 
tenor, James S. Staples second tenor 
and John L. Shaw bass. They all sang 
in the First Baptist Church, then on 
Federal Street, where Frances Pennell, 
who later became Mrs. John L. Shaw, 
was organist. This trio, for a time, went 
by the name of the Casco Glee Club. 

When Mr. Staples’ engagements be- 
came so exacting that he was obliged 
to withdraw, his place was taken by 
Samuel Thurston. 

Then another voice was added and 
Portland’s first organized “male quar- 


MUSIC OF THE STATE OF MAINE— 1836-1856 87 


tette” was established. The new mem- 
ber, Washington Elliot, came from 
Bath. He had an exceptional tenor 
voice, in compass, ranging from C to 
double high A, an octave above high 
A (not a falsetto). It is said that when 
he sang there appeared to be no break 
or change in his voice which main- 
tained the same unvarying quality 
throughout. His lower tones were not 
remarkably good, but his upper tones 
were pure and powerful with no weak 
spots. Had his voice been properly 
trained he would probably have be- 
come famous as a soloist. He remained 
in Portland about two years and then 
went to San Francisco where he ob- 
tained a position which he held during 
the remainder of his life as director 
and tenor singer in a choir. The quar- 
tette, which became known as Shaw’s 
Quartette, continued with many chang- 
es, especially in the first tenor and 
bass, till late in Mr. Shaw’s life. 

The Portland Orchestral Society was 
an organization which flourished a few 
years (1856-1859). George Churchill 
was the first conductor, but when he 
left the city he was succeeded by Mr. 
Kotzschmar. This orchestra made ex- 
cellent progress and gave several pub- 
lic performances. 

Its first officers were all well-known 
business men of Portland. They were 
President, Thomas Wright; Vice Presi- 
dent, Benjamin Tukey; Secretary, 
George M. Howe; Conductor, George 
A. Churchill. 

An interesting though unimportant 
musical organization existing in Port- 
land in 1838 was composed of some of 
the younger people of the town, and 
was known as “The Mocking-Birds.” 
There were about twenty members, 
each being designated by the name 
of some bird. The ladies were known 
as the Nightingale, the Lark, the 
Goldfinch, the Oriole, etc., but no such 


lovely names were bestowed upon 
the gentlemen, among whom David 
Paine was known as the Albatross, Dr. 
Thomas as the Condor, Joseph Kings- 
bury as the Crow and Charles P. Ils- 
levoas: the, Bat, 

Many concerts, at which artists and 
soloists from other states appeared, 
Were given in several cities in Maine 
during the winter season, but perhaps 
the greatest number took place in Port- 
land. At one of the most notable of 
these, soloists from the Handel and 
Haydn Society of Boston gave a con- 
cert in City Hall, Portland, in 1842; F. 
F. Miller, organist of the Boston Acad- 
emy of Music, and M. Colburn, the 
“original inpersonator of David in 
Oratorio,” gave’a recital at the Park 
Street Church in that city. 

The Casco Serenading Club of Port- 
land was composed of twelve members. 
On moonlight nights the members took 
a square piano on a wagon body along 
with them, and serenaded the people 
of the town. Each member could play 
one instrument and sing as well. It 
was famous in its day. The club would 
begin its serenading at about eleven 
p.m. and keep at it until three o’clock 
in the morning. It was said that “Noth- 
ing was too good for them in the houses 
before which they stopped and tuned 
up their concerts.” The members were 
George M. Howe, second tenor; Dr. 
Charles Thomas, low bass; George A. 
Thomas, first bass; Henry Boody 
Churchill, first: tenor: George. A. 
Churchill, second tenor; Samuel Thurs- 
ton, second tenor; Washington Elliot, 
first tenor; Samuel Johnson, flute; 
Thomas Wright, guitar; Samuel Stev- 
ens, guitar; Amos Osgood, flute; John 
L. Shaw, low bass and _ violoncello. 
The club was at its best about 1845. 

It appears to have met with a bet- 
ter reception than did another old sere- 
nading club which was in existence in 


88 MUSIC AND MUSICIANS OF MAINE 


1836, for a correspondent, in the Port- 
land Argus of August 19 of that year, 
complained of this “Night Band” and 
expressed “a willingness to turn out 
and help put its members into the 
horse-pond,” to which the editor added, 
‘“‘We have no objections.” 


Cumberland Musical Association 


The Cumberland Musical Associa- 
tion, a county singing society organized 
at Gray, November 5, 1835, held its 
first meeting with Francis L. Isley of 
Portland, President; Charles J. Noyes, 
Brunswick, and John Merrill, Poland, 
Vice Presidents; Samuel True, Cum- 
berland, Treasurer; John T. Harris, 
Portland, Recording Secretary; Aaron 
Eveleth, New Gloucester, Correspond- 
ing Secretary; and Ira Berry, Port- 
land, John Eveleth, Windham, and 
Ferdinand I. Ilsley, Portland, Stand- 
ing Committee. 

Its first annual meeting was held on 
the evening of December 31 in that 
year in the Congregational Meeting 
House at North Yarmouth when a lec- 
ture on church music was given by the 
Rev. Mr. Adams of Brunswick. The 
“Choir” of one hundred and fifty sing- 
ers, from thirteen towns, performed 
selections from the Handel and Haydn 
Society’s collection. 

At a meeting held at the Congrega- 
tional Meeting House, Gorham Corner, 
Thursday, November 14, 1836, an ad- 
dress by Rev. Mr. Chickering was 
given before the society. : 

For a few years the society, which 
received the support of some of the 
most musical people in the county, was 
very successful. 


The Hallowell Harmonic Society 


Hallowell continued to be an active 
center, musically, and it is claimed that 
in the thirties and forties this little 
town, which was then at the height of 


its development, was, in musical cul- 
ture, fifty years ahead of any other 
city or town in Maine. 

The Hallowell Harmonic Society was 
organized in or about 1832 by Paul 
Stickney, who became its conductor. 
This society exercised no little influ- 
ence on the musical taste of the peo- 
ple of Central Maine. It was devoted 
to the serious study of classical music 
and it was instrumental in familiarizing 
the people of the Kennebec Valley with 
the best known of the standard ora- 
torios to an extent not surpassed in any 
part of the State. 

Prominent among the members of 
the Harmonic Society in Hallowell 
were Elizabeth Dole, afterwards Mrs. 
Elizabeth Dole Kimball, one of the 
most gifted singers of the town; Alex 
Jones, an exceptional tenor; 
Stickney, a magnificent basso; John D. 
Lord, and Colonel Livermore. Of Paul 
Stickney it was said that “what he did 
not know about music was not worth 
knowing.” ; 

Elizabeth Cheever, the organist for 
the Harmonic Society, was the daugh- 
ter of Nathaniel Cheever, the first edi- 
tor of The American Advocate. 

An excellent orchestra in which a 
German musician’ named Weldenburg 
played first violin; Charles Vaughan, 
violoncello; Frank Day, double bass; 
Horace Waters of Augusta, second vio- 
lin; and Allen Drew, E flat clarinet, 
assisted at most of the recitals and 
“grand sacred concerts.” 

In 1833 the Harmonics sang the cho- 
rus from “Judas Maccabaeus” and se- 
lections from Handel; and in 1834 Bee- 
thoven’s “Hallelujah To the Father,” 
“Awake the Harp,” from Haydn’s 
“Creation,” and Persolesi’s “Gloria in 
Excelsis.” 

In 1836 the society announced “its 
Sixth Oratorio,” consisting of selections 
from Haydn’s “Creation,” but “owing 


John’ 


——— es 


MUSIC OF THE STATE OF MAINE— 1836-1856 89 


to the great number of balls and par- 
ties,’ so it was stated in the press no- 
tices of the concert, “it was not so well 
attended as was desirable.” 

John Merrick, Franklin A. Day, Paul 
Stickney and Samuel Tenney were 
among those who led the Old South 
Choir, which was said to have been un- 
excelled by any in New England. Ma- 
jor Rowell, J. Q. Adams Hawes and 
Allen Drew, who were later leaders, 
were, like their predecessors, conduc- 
tors of exceptional musical talent. Mrs. 
Maria Boyd and Mrs. Elizabeth Hub- 
bard were both prominent soloists at 
the Universalist Church in Hallowell. 
They were the daughters of Elizabeth 
Decker whose father, Master Samuel 
Locke, was a famous soloist in this part 
of the country. Mrs. Hannah Dole, 
Mrs. Joseph Barrett and the Liver- 
mores also contributed to the musical 
progress in Hallowell in this period. 
Albert Davis was tenor in the Univer- 
salist Choir and M. W. Boyd, bass. 
When Marie Decker was soprano solo- 
ist there, Mr. Boyd, who for a long 
time acted as a leader of the Hallowell 
band, was considered one of the best 
equipped musicians of the town. 


Maine State Musical Association 


After the passing of the Handel So- 
ciety of Maine several later attempts 
were made, at different times, to organ- 
ize state wide choruses; and, as the 
modes of travel improved, better suc- 
cess attended the efforts of the pro- 
moters of these ambitious projects, so 
that subsequent efforts, in this line, 
were not subjected to the severe handi- 
caps, in this particular, that attended 
the old Handel Society. 

The organization of the Maine State 
Musical Association was the result of 
a desire on the part of some of the mu- 
sical people of the State to spread the 
doctrine of better music, in the for- 


ties, and it followed the old Handel So- 
ciety of Maine as its logical successor. 
This association was organized in 1843 
with William M. Reed, President, and 
was a successful musical organization 
for more than fifteen years. 

While no complete record of its ses- 
sions is now available, it is known that 
in 1851 its officers were: Columbus 
Stewart, No. Anson, President; E. H. 
Piper, Waterville, Cor. and Rec. Sec- 
retary; and Joseph Marston, Water- 
ville, Treasurer. 

In 1852 the meeting was held at 
Winthrop on the seventh day of Sep- 
tember. 

In 1854 its officers were: G. W. Fair- 
banks, Wayne, President; J. C. Wil- 
liams, No. Anson, N. S. Rice, China, 
C. B. Brett, Strong, Church Fish, Hope, 
Charles Milliken, Gardiner, Vice Presi- 
dents; M. B. Sears, Winthrop, Reuben 
Seavey, Hallowell, and W. M. Rice, Jr., 
Bath, Trustees; Thomas D. Thorne, 
Lewiston, Rec. Secretary; M. B. Sears, 
Winthrop, Cor. Secretary; and Joseph 
Marston, Waterville, Treasurer. 

In January, 1857, a four days’ ses- 
sion of this musical association was 
held in Central Hall, Lewiston, under 
the direction of B. F. Baker of Boston, 
assisted by the Mendelssohn Quartette 
Club of Boston. 

The pianists were Mr. Henderson of 
Boston and L. W. Ballard and R. C. 
Pennell of Lewiston. 

Two pianos were used and “Able 
Vocalists” from all parts of the State 
were present. Among these were 
Ellen Barrows, John Morgan, J. L. 
Shaw, S. Thurston and C. C. Buck of 
Portland; H. C. Chandler and Miss 
Edwards of Lewiston; Miss Carroll, 
Waterville; Miss Poland, Auburn; Mrs. 
Graves, Sabattus; R. C. Boothby, Liv- 
ermore Falls; William Rice, Bath; 
William Haskell, Topsham; and E. C. 
Farrington, Auburn. 


90 MUSIC AND MUSICIANS OF MAINE 


B. F. Baker’s new church music book 
was used. On the evening of January 
sixteenth a miscellaneous concert was 
given; on the seventeenth an instru- 
mental program by the Mendelssohn 
Quintette Club was presented; and on 
the eighteenth the oratorio “Creation” 
was sung. 

The fifteenth annual session of the 
society was held in Bangor in October, 
1858, at which time the Penobscot Mu- 
sical Association united with this so- 
ciety in presenting a four-day program. 

In October, 1859, the Maine State 
Musical Association held a musical 
convention or four-day music festival 
in Deering Hall in Portland. Professor 
B. F. Baker of Boston directed the 
choruses, and the soloists were Profes- 
sors Baker and Ball, Harriet Cammett, 
Samuel Thurston, and Mrs. J. H. Long 
of Boston. The program consisted of 
—songs, glees, duets and choruses. On 
October seventh the oratorio “Crea- 
tion” was performed, Hermann Kotz- 
schmar was the pianist. 

The Maine State Musical Associa- 
tion elected October 7, 1859, the fol- 
lowing officers: Joseph Marston, Wa- 
terville, President; C. H. Additon, Port- 
land, Dr. William H. True, Freeport, 
Wesley Birnier, Pittston, G. H. Car- 
penter, Waterville, T. P. Magoon, Bath, 
Vice Presidents; E. C. Farrington, Lew- 
iston, Cor. Secretary; W. H. True, 
Freeport, Rec. Secretary; O. S. Ed- 
wards, Gardiner, Treasure1; N. O. 
Mitchell, Gardiner, J. B. Bray, Bridg- 
ton, E. C. Farrington, Lewiston, Trus- 
tees; M. B. Sears, Winthrop, G. G. Ad- 
diton, Portland and Dr. W. H. True, 
Freeport, Com. on Resolutions. 

Unlike the Maine Music Festival, 
which for nearly thirty years confined 
its annual sessions to Portland and 
Bangor, this organization held its con- 
ventions in a number of the larger and 
more widely scattered towns and cities 


of the State, notably, Portland, Ban- 
gor, Lewiston, Augusta and Bath. It 
cooperated with local and county mu- 
sical organizations and assisted them in 
many ways in presenting their pro- 
grams and in stimulating an increased 
desire for the best in music, and it aid- 
ed musical instructors by holding spe- 
cial classes for teachers. Its announced 
purpose was to elevate the standard of 
music in the State of Maine, and in 
this it was very successful. 

It is regrettable that there is now so 
little remaining of record of this old 
musical society, believed to be the first 
to successfully undertake a state-wide 


work for the advancement of music 


and musical culture through choral 
singing. This association had a print- 
ed constitution, a list of its members, 
and members of its teachers’ classes. 
The loss by fire of the Bangor Public 
Library in 1911, and the burning of 
the larger part of Portland in the great 
fire of 1866, materially assisted in wip- 
ing out many of the records of this 
and other old time musical societies, 
yet enough remains in the hands of in- 
dividuals to show that the Maine State 
Musical Association played no small 
part in developing a state-wide inter- 
est in music. ‘The teachers’ classes 
were held during the summer vacation 
periods, the first annual session of 
which was held in Bath in August, 
1854. 

William M. Reed, Esq., of Farming- 
ton, born June 27, 1801, founder and 
first president of the Maine State Mu- 
sical Association, was the son of Asa 
and Sarah Reed. He married Ann 
Wentworth. As a young man he lived 
in Phillips but moved to Farmington 
in middle life. 

In the minutes of the twentieth an- 
nual session of the Penobscot Musical 
Association held in Bangor in 1860 the 
following brief sketch of him appears: 


MUSIC OF THE STATE OF MAINE— 1836-1856 QI 


“Wm. M. Reed, Esq. of Farmington 
died at his residence on August 7, 1860, 
aged 59 years. 

“He was a member of this Conven- 
tion in 1854, and for about two years 
a teacher in this city, and the leader 


of one of our Church Choirs. 


“Mr. Reed in early life left this 
State and went to Boston in order to 
avail himself of the advantages of that 
city for the study of music, and about 
thirty years since returned and settled 
in Franklin County, where he resided 
till his death. He has been a very 
faithful and successful teacher of mu- 
sic, making it the principal business of 
his life. 

“His favorite music was the choruses 
of the old masters, such as Handel, 
Haydn, Mozart, and Beethoven, and 
in them he very much delighted, and 
in the direction and performance of 
them, he had but few superiors, or 
even equals. 

“Mr. Reed may justly be regarded 
the father of the Convention system in 
this State. It was mainly through his 
influence that the State Convention 
was formed about seventeen years 
since, he being its first and for several 
succeeding years its very efficient 
President.” 

His death was a tragic one. During 
an epidemic of smallpox, like many 
others of his time, he refused to be vac- 
cinated, and becoming exposed to this 
infectious disease he soon succumbed. 


The Penobscot Musical Association 


Bangor, destined to become one of 
the great musical centers of Maine, 
was, at first, slow in responding to the 
call of Polyhymnia. To be sure, way 
back in 1791 it had its psalme singers, 
notably Seth Noble, but for nearly 
fifty years thereafter ‘little was done in 
the way of musical advancement. At 
first such music as was imparted to the 


WILLIAM M. REED, FOUNDER AND FIRST PRESIDENT 
OF THE MAINE STATE MUSICAL ASSOCIATION (1843) 

AND FIRST PRESIDENT OF THE FRANKLIN COUNTY 

MUSICAL ASSOCIATION. 


good people of that town was dispensed 
by the old time singing masters. Two ot 
these, J. W. Tufts and Horace R. 
Streeter, were pioneer instructors among 
Bangor folk, and the Queen City was 
fortunate in having two such able men 
to minister to its musical desires. 

J. W. Tufts was a composer who had 
received a much better education than 
the average musician of his day. He 
was a good contrapuntist and a thor- 
ough musician, and it is said of him 
that he placed the training-system of 
public schools upon a much firmer 
foundation than it had ever been before. 
He lived in Bangor for a time, and 
later resided in Camden. 

Horace R. Streeter was a violinist. 
Besides teaching a singing school he 
had a small orchestra of his own to 


92 MUSIC AND MUSICIANS OF MAINE 


SOLON WILDER WHO ORGANIZED THE FIRST SING- 
ING SCHOOL IN BANGOR. 


play at dances. He was leader of the 
choir at the First Parish Church, Ban- 
gor, “when it had a steeple on the other 
end,’ and played the violin while 
Frederic S$. Davenport played the or- 
gan there. He also played chamber 
music with J. W. Tufts and John D. 
Conley. These three gave concerts with- 
out remuneration, for the sheer delight 
of it, 

Solon Wilder, to whom Bangor owes 
as much, musically perhaps, as to any 
other one man, was a musician of great 
prominence in the early days, and ac- 
complished more than any one else in 
developing musical appreciation and 
musical talent among his fellow towns- 
men. He organized the first singing 
school in Bangor. Many of the most 
prominent Bangor singers for years 
were among the boys and girls who 
had received their first musical instruc- 
tion under the guidance of this keen 
eyed and scholarly musician. The 


Wilders were a musical family. Mr. 
Wilder’s sister became a singer of 
prominence. Though the Maine State 
Musical Association had been organ- 
ized in 1843, and a local musical or- 
ganization, known as the Bangor Sa- 
cred Music Society, gave concerts of 
secular as well as sacred music in the 
Queen City as early as 1839, there had 
been for a long time a desire in Ban- 
gor to form a county organization and 
this found expression in the organiza- 
tion of The Penobscot Musical Asso- 
ciation. 

One should not think it strange that 
Bangor was so far behind the cities of 
Western Maine in getting her musical 
start, for Bangor was but a trading 
station of the Indians, in the midst of 
a virgin forest, for more than a hun- 
dred years after the first settlement 
had been made in Portland; and then 
again its location was more than a hun- 
dred miles farther into the Maine 
woods than was the Forest City from 
that seat of musical learning—Boston. 
One might raise the point that Hallo- 
well was not settled much earlier than 
Bangor and that it was almost equally 
as inaccessible, but Hallowell was ex- 
tremely fortunate in having had such 
musically educated and highly intel- 
lectual people as the Merricks and the 
Vaughans residing in her midst almost 
from the date of its earliest settlement, 
to give her an early musical impetus. 

It is interesting to note in this con- 
nection that while the growth of music 
in Portland had been largely the result 
of a desire for musical expression on 
the part of the common people, that 
the musical undertakings in Hallowell 
had been led from the very beginning 
by men representing the culture, refine- 
ment and intellect of the town. 

On September 27, 1848, a call was 
sent out, through the columns of the 
Bangor papers and by means of a cir- 


ee wee oe tee ee 


br-yt: 


MUSIC OF THE STATE OF MAINE-— 1836-1856 93 


cular issued on that date, requesting 
all amateur singers of church music to 
meet at Market Hall in Convention, 
October 9, 10 and 11 of that year, to 
practice under the direction of Benja- 
min Franklin Baker of Boston. 

A constitution was adopted and the 
name was given to the organization, by 
which it has been known since that 
day — The Penobscot Musical Asso- 
ciation. 

The date of organization of the Pe- 
nobscot Musical Association is officially 
given as October 9, 1848. The officers 
elected were Wm. H. Mills, President; 
Sidney K. Howard, Vice President; E. 
F. Duren, Secretary and Treasurer; 
Abner P. Guild, Joseph Forbes, Wil- 
liam Arnold of Bangor, Augustus S. 
French of Dexter, Lysander W. Hart- 
well of Milo, John J. Colburn of Orono, 
and Ora Oakman of Corinth, Executive 
Committee. 

On the first day, the record says, the 
time was occupied in the practice of 
music, using The Timbrel, a book ed- 
ited by Mr. Baker, and listening to 
lectures on the style or performance, 
use of voice, etc. On the second day 
the question of forming a permanent 
organization was discussed, and the re- 
sult was a vote to form it and a com- 
mittee of five were appointed to pro- 
pose rules and nominate officers. 

The first concert by the Penobscot 
Musical Association was given at the 
Hammond Street Church, Bangor, on 
October 12, 1848. B. F. Baker of Bos- 
ton, the leader, was “assisted by the 
Misses Hill and Elwell” of the Massa- 
chusetts metropolis. Twelve selections 
were given. Among the choruses were, 
“See the Conquering Hero Comes,” 
from Handel; ‘““The Marvelous Work,” 
of Haydn, and Rossini’s “Inflamma- 
tus’; solos, “With Verdure Clad,” 
“Now Heaven in Fullest Glory Shone” 


WILLIAM H. MILLS, FIRST PRESIDENT OF THE 
PENOBSCOT MUSICAL ASSOCIATION (1848). FROM 
AN OLD STEEL ENGRAVING LOANED BY HON. HENRY 
LORD OF BANGOR. 


and oe Rocked 
Deep.” 

The President of the society, Wil- 
liam H. Mills, was one of Bangor’s ear- 
liest financiers and was, for a long time, 
one of the principal officers of the 
Eastern Bank in Bangor. 

Benjamin Franklin Baker, the first 
conductor of the Penobscot Musical 
Association, was a vocalist and music 
teacher well known in his day. He was 
born in Wenham, Mass., in 1811, and 
in 1833 moved to Bangor where he en- 
gaged in commercial pursuits. In 1836 
he returned to Boston and while there 
studied with John Paddon and had 
charge of the music in Dr. Channing’s 
Church. In 1841 he succeeded Lowell 
Mason as Supervisor of Music in the 


Boston Public Schools. He was elected 
Vice President of the Handel and Haydn 


in the Cradle of the 


04 MUSIC AND MUSICIANS OF MAINE 


Society and served the Boston associa- 
tion in that capacity for a period of six 
years, during which time he appeared 
as soloist at many concerts. 

In 1841 he began the establishment 
of a school of music in Boston. This 
culminated in 1851 in the Boston Mu- 
sic School of which he became the 
principal and head of the vocal depart- 
ment. In 1868 he retired. Perhaps his 
best known composition is “Stars of 
the Summer Night.” He composed 
three cantatas and many quartettes 
and anthems and a book on “Thorough 
Bass and Harmony.” Mr. Baker was 
also President of the Boston Musical 
Education Society. 

In the fall of 1850 the Penobscots 

“gave the whole performance” of the 
Oratorio “Absalom.” This, it is be- 
lieved, was the first performance, as a 
whole, of any oratorio in the Queen 
City. The society was assisted by Pro- 
fessor Woodbury of New York, Miss 
Booth from Hartford, Mrs. Rogers 
“and other prominent singers.” ‘This 
performance was given at the First 
Parish Church, Bangor. At this ses- 
sion Rev. J. K. Mason of Hampden 
was the speaker. 

Nearly all of the concerts given by 
the society were miscellaneous in their 
nature. Hymns, anthems and chants 
were given by the choruses, while most 
of the principal solos fell to the foreign 
artists, though, from the very first, lo- 
cal talent was encouraged to partici- 
pate in the presentation of solo num- 
bers. 

At the annual gatherings excellent 
programs of music were sung. The 
choruses sometimes numbered upwards 
of four hundred, and addresses were 
made by prominent people from all 
parts of the State. 

At the first conventions lectures were 
given by E. H. Frost and Prof. Baker 


on various practices which were injuri- 


ous to the healthy development of the 
voice, the teachirg and training of 
choirs and other matters of value to 
those that were studying singing. 

Besides the early concerts that were 
given in the Hammond Street and First 
Parish Churches, meetings were held 
in Norumbega Hall, and organ recitals 
were held at the Hammond and Union 
Street Churches. At least one of these 
yearly events was held in Central Mar- 
ket Hall. 

Because of the wisdom of the officers 
of the society in selecting leaders of 
talent and experience to direct the sing- 
ing, some fine effects with the choruses 
were obtained, and the annual meet- 
ings of the society were looked for- 
ward to as no small event. 

On account of the loss of the minutes 
and publications of this society, no rec- 
ord of membership for the entire period 
of its existence is now available and it 
is impossible to give a complete ac- 
count of its progress from its begin- 
ning to its close. In fact there is but 
little of the history of the Penobscot 
Musical Association now remaining of 
record, excepting such accounts as may 
be found in the columns of the news- 
papers of the day. These and the 
printed minutes of such few of its an-. 
nual sessions as have escaped the rav- 
ages of fire are about all that appear to 
be accessible to the historian other 
than a brief, but altogether reliable, 
sketch of the society made by its Sec- 
retary, Elnathan Duren, at the end of 
its thirty-second year of existence, but 
it is known that from the date of its 
beginning until 1859 it had enrolled 
the whole number of nineteen hundred 
and twenty-three members. 

As the society progressed the pres- 
entation of more ambitious programs 
was fearlessly undertaken. Principal 
choruses, solos and recitatives from 
the great oratorios including “The 


Re Be) ee 


a a ae 


MUSIC OF THE STATE OF MAINE— 1836-1856 95 


Messiah,” ‘Creation,’ Redemption,” 
“Hymn of Praise,” “St. Paul,” “Stabat 
Mater” and others were often per- 
formed. 

The Penobscot Musical Association 
was one of the most active musical or- 
ganizations of its time. It issued an- 
nual publications including catalogues 
of the officers and members, with the 
constitution and minutes of its annual 
sessions from 1854 to 1868, after which 


time they were published quite fully in 


the daily papers of Bangor. 

In Williamson’s bibliography of 
Maine twelve of the publications of 
this society are listed. Many of these 
were in the Bangor Library at the 
time the library was destroyed by fire 
and cannot now be replaced. 

In 1854 the membership consisted of 
six hundred and forty-two singers, rep- 
resenting eighty-two towns. 

It is interesting to note from the fol- 
lowing advertisement of the 1856 Con- 
vention, which was held at Norumbega 
Hall, George F. Root, directing, the 
thoroughness with which the matter of 
preparing for the annual concerts was 
undertaken. 

“Morning Session from 9 to 10.30 — 
Elementary instruction, including prac- 
tice in major, minor and chromatic 
scales, time-keeping, intonation and 
reading music, in connection with 
Psalmody. 

“From 10.40 to 12 — Vocal Instruc- 
tion including exercises in position, 
breathing, vowel and consonant ele- 
ments, and resonance or quality of 
tone. 

“Afternoon — from 2.30 to 5. Glee 
Singing, including Instruction in Phras- 
ing, and other matters relating to style 
and expression. 

“Fyvening from 7 to 9. Church mu- 
sic, anthems, choruses, etc. and Prac- 
tice with reference to public perform- 
ances.” 


Dr. George F. Root (1820-1895), 
the son of a farmer, was one of the 
most admired directors of the Associa- 
tion which held him in the highest re- 
gard, not only for his genius as a com- 
poser of popular melodies, but for his 
great ability as a conductor as well. 
Though not a native of Maine, Mr. 
Root came to be identified with Maine 
music to such a degree, through his 
connection with the Penobscot Musical 
Association, that anything that might 
be said of him should be of interest. 
He was born in Sheffield, Mass., in Au- 
gust of the year in which Maine be- 


came a State, but removed to New 


York where he became organist at 
“The Church of The Strangers” and 
where he taught from 1844 to 1850. 
After studying in Paris for a time he 
went to Chicago, in 1859, where he be- 
came a member of the publishing house 
of Root and Cady. Mr. Root was the 
originator of normal musical institutes. 
He founded a school of distinctively 
American music and was instrumental 
in no small degree in improving the 
standard of musicin America. He com- 
posed more than forty songs which be- 
came popular with the people of his 
day. Among his best known composi- 
tions are the cantata, “The Flower 


- Queen” (1852), and the songs, “Hazel 


Dell” (1853), “Rosalie the Prairie 
Flower” (1855), the cantata, “The 
Haymakers” (1857), the song, “The 
Battle Cry of Freedom” (1861), which 
gained such immense popularity that 
at one time fourteen printing presses 
were engaged in printing it so that the 
demand might be supplied; the songs, 
“Just Before the Battle, Mother” 
(1863), “Tramp, Tramp, Tramp, the 
Boys are Marching” (1864), “The 
Old Potomac Shore,” and ‘Marching 
Through Georgia.” Mr. Root was also 
the composer of that immortal quar- 
tette, “There’s Music in the Air.” He 


- 


96 MUSIC AND MUSICIANS OF MAINE 


GEORGE W. MERRILL, ONE OF THE FOUNDERS OF 
THE PENOBSCOT MUSICAL ASSOCIATION, AND FOR 
ELEVEN YEARS A VICE PRESIDENT. 


directed the Penobscot Association a 
number of years, though not succes- 
sively. His cantata, “The Haymak- 
ers,’ was presented no less than five 
times by amateurs in Portland. In the 
great Chicago fire of 1871 his publish- 
ing house was entirely destroyed, and 
the loss to his firm was a quarter of a 
million dollars. He was obliged to sell 
out his interest to others. He had a 
wide reputation for skill and success 
as a teacher and was known as a great 
enthusiast in conducting musical con- 
ventions. 

Nathaniel Duren Gould (1781-1864), 
born in Chelmsford, Massachusetts, 
another Penobscot Musical Association 
leader, was one of the pioneers in the 
field of juvenile instruction in music, 


even before Lowell Mason entered it. 
He was one of the most active in lead- 
ing music conventions in all the east- 
ern cities, and was the author of a His- 
tory of Church Music. Gould was in 
reality his middle name. He came from 
Middlesex, Massachusetts, where he 
conducted the Middlesex Musical So- 
clety. 

George W. Merrill, Vice President 
of the Penobscot Musical Association 
for eleven years, was prominently iden- 
tified with all the leading musical activ- 
ities of Bangor during that period. He 
had a tenor voice of beautiful quality 
and sang for twenty-five years in the 
quartette choir of the Episcopal Church 
in Bangor. 

Joseph Forbes, for several years 
Vice President of the Penobscot Mu- 
sical Association and the first Director 
of the Bangor Musical Association, and 
his wife were very active members of 
the old musical associations in Bangor 
as early as 1838. He was born in En- 
field, Massachusetts, in 1808 and was, 
for some time, organist at the Third 
Parish Congregational Church, prior 
to which he was the musical director 
of the First Parish Congiegational 
Church, Bangor. He was among the 
foremost in musical activities in the 
early days in that city. 

What the Penobscot Musical Asso- 
ciation did further for the cause of mu- 
sic belongs in another chapter, as will 
presently appear. 


Cumberland County Philharmonic 
Society 

During this period county musical 
organizations seemed to spring up over 
night. Following in the wake of the 
Penobscot Society, the Cumberland 
County Philharmonic Society was or- 
ganized in June, 1850, and these were 
its officers in 1851: Samuel Jones, 
Cumberland, President; Orin Dins- 


MUSIC OF THE STATE OF MAIN E— 1836-1856 97 


more, Auburn, Vice President; and 
Arthur L. Ilsley, Portland, Chorister. 


Franklin County Musical Association 


The Franklin County Musical Asso- 
ciation, quite noted in its day, was or- 
ganized in 1843 with William M. Reed 
as President and Ezekiel Lancaster as 
Vice President. Many were the musi- 
cal entertainments that the people en- 
joyed under the auspices of this society. 

Like most of the conventions of the 
County Associations they were held in 
various towns in the county, with a 
rehearsal in the afternoon and a public 
gathering in the evening. 


Franklin County Musical Institute 


The officers of the Franklin County 
Musical Institute in 1851 were: O. H. 
Berry, New Sharon, President; O. H. 
Sewall, Chesterville, Vice President; 
W. Perkins, Farmington, Vice Presi- 
~ dent; Lyman Lancaster, New Sharon, 

Secretary; Nelson C. Luce, Industry, 
Treasurer. 

These officers were succeeded by 
William M. Reed, Farmington, Presi- 
dent; John Titcomb, Farmington, Vice 
President; John Sprague, Farmington, 
Secretary; Eben Norton, Farmington, 
Treasurer. 

From the day that Squire Belcher 
took up his home in Farmington this 
little town, afterwards famed as being 
the birthplace of Maine’s wondertul 
song bird, Lillian Nordica, has always 
_ enjoyed the reputation of being a mu- 
= sical center. 

- The fame of its old singing schools 
spread into counties whose boundary 
lines did not even border on those of 
Franklin. 

Hon. Joseph Woodman Fairbanks 
_ (1821-1905), one of the old singing 


school leaders, was the son of Colum- 


bus Fairbanks, and acted as chorister 
_ in Farmington for many years. In the 


JOSEPH FORBES, FIRST VOCAL DIRECTOR OF THE 
BANGOR MUSICAL ASSOCIATION (1847) AND A VICE 
PRESIDENT OF THE PENOBSCOT MUSICAL ASSOCIA- 
TION. 


choir were then used the bassoon, the 
trombone, and clarinet. A piano, man- 
ufactured by Calvin Edwards, was pur- 
chased by Hiram Belcher, son of Sup- 
ply Belcher, and played in his home 
where the choir met for rehearsals. It 
is said that this was the first piano to 
be used in Farmington. 

Mr. Fairbanks had an excellent ten- 
or voice and played the double bass on 
occasion. He was one of the leading 
men of Farmington where he had been 
a merchant for many years. He be- 
came President of the Franklin Coun- 
ty Savings Bank, was a member of the 
Maine Legislature four years and held 
other important offices. 

John Titcomb, 2nd, who was born 
in that town in 1813, was also an in- 
structor. He played several musical in- 


98 MUSIC AND MUSICIANS OF MAINE. 


JOSEPH WOODMAN FAIRBANKS, CHORISTER AND 
LEADER OF SINGING SCHOOLS FOR MANY YEARS IN 
FARMINGTON. 


struments, including the violin and 
flute, and was a very good singer. He 
had an exercise book which corre- 
sponded somewhat with the musical 
chart of today. It stood upon the plat- 
form and was large in size, with notes 
which could be seen and read from any 
part of the room. He was leader of the 
Old South Congregational Church 
Choir for some time and played the 
violin in the church before the organ 
was installed there in 1855. He studied 
music under Lowell Mason and like 
many of the singing teachers of his 
time his regular occupation was farm- 


ing. 
Bangor Musical Association 


In the year before the Penobscot 
Musical Association came into exist- 


ence the Bangor Musical Association 
was organized (1847) “to promote, the 
Science of Music and especially for the 
edification of its members.” It had a 
constitution and by-laws, met weekly 
for rehearsals, had regular dues and 
male members were assessed equally 
to defray the expenses of the society. 

The first officers of this society were: 
Frederic Hobbs, President; Joseph 
Forbes, 1st Director; John H. Porter, 
2nd Director; Zebulon S. Patton, Sec. 
and ‘Treas.; William H. Cutter, Organ- 
ist and Pianist. | 

The records of this society were very 
meager. The Secretary’s records, from 
January, 1847, to September, 1856, oc- 
cupied less than twelve small pages of 
hand written matter. | 

Only two concerts performed by the 
society are mentioned —one on Janu- 
ary 24, 1842, at which the receipts 
were over fifty dollars, and the other 
on February 21 of the same year. 
From other sources it is learned that 
a concert was given in January, 1848, 
when a Miss Mallett was the pianist. 

_ Mr. Patton resigned his position as 
Sec.-Treas. in 1848 and he was suc- 
ceeded by George W. Merrill. 

The oratorios “David” and “The 
Messiah” were studied by this society, 
and it is believed that at one time Mr. 
Tufts acted as organist of the associa- 
tion, and F. S. Davenport was its con- 
ductor. 

The officers elected in November 27, 
1848, were, A. P. Bradbury, President; 
H. R. Streeter, First Director; Joseph 
Forbes, Second Director; and G. W. 
Merrill, Secretary and Treasurer. 


Somerset Sacred Music Society 


The Somerset Sacred Music Society 
was an active musical organization 
from 1842 to 1854 and held meetings 
and gave some concerts at Skowhegan, 
Solon and other towns in Somerset 


a 


a tion. 


i Sree ee ee 


MUSIC OF THE STATE OF MAINE— 1836-1856 99 


County. William M. Reed was its lead- 
er in 1844, and in that year he opened 
a Singing School in Skowhegan. It 1s 
believed that Benjamin Edmund Mes- 
ser was the organizer, though Columbus 
Stuart of North Anson was its first 
president. Asa S. Emery was, for 
some time, its secretary. 

Benjamin Edmund Messer was wide- 
ly known in Maine as one of the found- 
ers of the Penobscot Musical Associa- 
tion and a teacher in singing, according 
to the old school. For forty consecu- 
tive years, in Maine, Illinois and Min- 
nesota, he went about from village to 
town, accompanied by his treasured 
violin, of which he was complete mas- 
ter. He held classes in churches, school- 
houses and farmhouses and taught the 
people rudiments of song. Mr. Messer 
held many positions of public trust and 
was esteemed by his fellow citizens in 
three states. He was famed as a pioneer 
in the temperance movement. 

Mr. Messer was born at Hollis, N. 
H., in 1812, and received his early edu- 
cation at Peppereli Academy, in Mas- 
sachusetts. He went to Maine in his 
youth (as early as 1830) where he be- 
gan to teach singing schools at the age 
of eighteen. Possessed of a rich and 
vibrant baritone voice and being an 
accomplished violinist he met with fa- 
vor in every town he visited, and it 
was not long before his name was al- 
most a household word in hundreds of 
Maine homes. He was a cabinet maker 
by trade, and when the singing school 
began to lag with the warm weather of 
the spring he took up his regular voca- 


It was during one of his journeyings 
in Maine that he met with Miss Mary 


Burt Holt, the daughter of Rev. Fifield 


Holt, at that time the minister of the 
Skowhegan Congregational Church. 
They were married in 1840. 


#] 


FREDERIC HOBBS, FIRST PRESIDENT OF THE BANGOR 


MUSICAL ASSOCIATION (1847). PHOTO MADE BY 
THE COPLEY PRINT CO., BOSTON, FROM AN OLD 
DAGUERREOTYPE AND LOANED BY MISS MARY J. 
ALLEN, AUBURNDALE, MASS. 


Mr. Messer lived later in New Shar- 
on, and his singing schools extended as 
far east as Dexter and Bangor. On ac- 
count of failing health he went to Min- 
nesota in 1852 where he settled in St. 
Anthony. He afterwards became iden- 
tified with what is now Minneapolis 
and built one of the very first houses 
in that city. He was elected its second 
sheriff, and joined a party to explore 
the country to the west. He was also 
one of the delegates to the constitu- 
tional convention of that state but, 
notwithstanding his duties as sheriff, 
he continued his musical studies and 
instruction with much enthusiasm, and 
subsequently left Minnesota to become 
musical instructor in the State Normal 
Institute at Bloomington, Ill. This po- 
sition he held for about three years, 
until the breaking out of the Civil War, 


100 


when, because Mrs. Messer desired to 
move to Washington, that she might 
become a nurse, they went to that city 
where he secured and held, for twenty- 
five years, a position in the Fourth Au- 
ditor’s Office. He died in Washington, 
December, 1895. His son Edmund 
Clarence Messer, born in Bloomfield 
in 1842, became an artist of more than 
local fame. 

Among the names of those who ap- 
pear prominently in music in Skowhe- 
gan during this period are Mr. Brett, 
who opened a school for vocal music 
in 1851, and who advertised, “He does 
not confine his instruction to Church 
Music but intersperses it with. glees, 
duetts, etc.”’; O. P. Bigelow, who 
opened a “flourishing singing school” 
at Washington Hall in 1853, and who, 
a year later, became teacher of music 
at the Bloomfield Academy; Sam E. 
Morrill, who opened a singing school 
in 1851, and G. W. Chase of Farming- 
ton, who gave a concert in 1854, at 
which he was assisted by Boston tal- 
ent and Miss H. Wentworth and Sarah 
Fletcher of Skowhegan. 


Waldo County Musical Association 


The first session of the Waldo Coun- 
ty Musical Association was held in Bel- 
fast in October, 1850, with more than 
one hundred members in attendance, 
and a concert was given by them on 
the tenth of that month. The first offi- 
cers were: William Pitcher, President; 
Hiram Bass, Vice President; William 
C. Poor, Secretary; Augustus Peary, 
Treasurer. 

Other musical organizations of more 
or less importance were formed in Bel- 
fast during the forties and the early 
fifties, and musical entertainments by 
local talent have been noted by the 
town historian. 

During the summer of 1840 a con- 


MUSIC AND MUSICIANS OF MAINE 


cert was given by the Belfast Glee 
Club. 

In 1844 visiting talent from other 
Maine towns was secured for some of 
the entertainments, and the Bath 
Quartette Club gave a concert at the 
Court House. In February, 1845, the 
Augusta Glee Club appeared in a con- 
cert at Washington Hall. 

In March, 1851, a “Musical rehears- 
al of Selections from Opera and Ora- 
torios,” directed by J. W. Webster, took 
place at the Unitarian Church, and in 
that year an entertainment was given 
at Washington Hall by “The Druid 
Band,” which consisted of seventy 
members, all of whom performed on 
ox-horns. 

In May, 1852, a concert program 
was performed by Henri Jungnickel on 
the violoncello and flute, assisted by 
Alonzo P. Wheelock and his daughter 
of Portland. In this year, also, several 
concerts were given by a musical so- 
ciety which went under the name of 
the Belfast Harmoneons. 

Mr. Jungnickel had come to Port- 
land from Germany, four years be- 
fore, with Hermann Kotzschmar. Both 
of these musical geniuses were mem- 
bers of the Saxonia Band which was 
composed of twenty young German 
musicians who longed for the freedom 
that America offered. 

Henri Jungnickel is described as a 
man of very “nervous temperament, of 
strong sympathetic quality and seemed 
overflowing with musical feeling.” 

Mr. Thurston, in his Reminiscences, 
says, “Mr. Jungnickel found little en- 
couragement in Portland as those who 
were interested tolearn the instruments 
he taught were very few and there was 
no local professional orchestra in that 
city as early as this. After remaining 
here a few months he went to Boston 
and became one of the foremost solo 
cello players in that city, but his career 


MUSIC OF THE STATE OF MAINE— 1836-1856 IOI 


was cut short by illness and an un- 
timely death. 

“Once when our vocal and instru- 
mental club was waiting a.short time,” 
he continues, “Mr. Jungnickel picked 
up a violin and commenced playing 
Von Weber’s ‘Last Waltz.’ He played it 
through several times. When he con- 
cluded he said, “There, if I could write 
a piece of music like that, I would be 
ready to die.’”’ 

Belfast, as has been said in a pre- 
ceding chapter, was a musical center, 
almost from its beginning as a settle- 
ment. There was no diminution in the 
interest in keeping up the standara of 
its choirs during the next thirty years 
which followed. 

Colonel James W. Webster still con- 
tinued to be the leader in Belfast mu- 
sical life, and it has been said of him 
that “to his exertions was, in a great 
measure, to be attributed the develope- 
-ment of the fine musical powers of 
many of his associates in the choir.” 
From 1843 to 1852 the soprano and 
alto parts in the First Church Choir 
were sung by his daughters, Pauline 
and Caroline Webster. During this 
period Mrs. W. H. Dutton became a 
member of the choir and later Mary 
L. Hanson joined it, while J. W. Fred- 
erick sustained the bass. Mr. Frederick 
was followed by Charles R. Thomes. 

Following Mr. Frederick’s year of 
service, Aurelia E. Quimby held the 
position of organist in the First Church 
for four years. After she gave up the 
post A. H. Townley acted as organist 
for a like period of time, until 1843, 
when Martha Bradbury, then but six- 
teen years old, took the post. Miss 
Bradbury served for nine years when 
she was succeeded by Caroline E. 
Webster. | 

From 1835 to 1843 the choir was 
often supported by local singers, in- 
cluding Mrs. Kendall, Elizabeth Bean 


and Caroline Sleeper, who afterwards 
became a regular member of the choir. 

From 1843 to 1852 among those who 
assisted were Mary A. and Susan J. 
White and the Misses Wetherbee, and 
in later years Mrs. Thomas W. Huse, 
Mrs. L. W. Howes, Sarah Howes, Lucy 
M. Hanson and Franklin R. Frederick. 

It seems strange that societies of an- 
cient music and antiquarian singing 
should have been in existence more 
than seventy-five years ago, but peo- 
ple of those days derived as much en- 
joyment from reproducing the psalm 
tunes and costumes of their grandfa- 
thers and grandmothers as do those of 
1928. 

In 1851 the “Antiquarian Singing 
Club,” under the direction of Francis 
Harrington, gave several successful 
concerts, the proceeds of which went to 
the poor and needy families of Rock- 
land. 

There was, for some years, a society 
in Rockland called the Mozart Club of 
which G. D. Smith was the director. 
Its purpose was for the study of the 
better kind of music, and they met in 
the Band Hall for practice. 

In 1857 G. D. Smith’s singers pre- 
sented the “Flower Queen” at Beetho- 
ven Hall. Mr. Smith directed the pres- 
entation of Root’s Cantata, “The Hay- 
makers,” in 1858. 

G. D. Smith was the first music 
teacher of prominence in the City of 
Rockland. He was an artist as well as 
a musician, and a gentleman of culture 
and refinement. He moved to Rock- 
land about 1853, and developed a large 
class on the pianoforte. He was or- 
ganist at the Congregational Church 
until he enlisted in the war. He was 
killed at Gettysburg. 

At the Universalist Church, which 
was not built until 1838, G. W. Brown 
played the clarinet and Elkana Spear 
the bass viol. An organ was purchased 


102 MUSIC AND MUSICIANS OF MAINE 


LUTHER WHITING MASON, INTERNATIONALLY HON- 
ORED EDUCATOR, WHO INTRODUCED THE EIGHT 
TONE SCALE INTO THE ORIENT FOR WHICH HE 
WAS ACCORDED SIGNAL HONORS BY THE JAPANESE 
PEOPLE AND THEIR MIKADO. PHOTO BY GEORG 
BROKOSCH, LEIPZIG. 


by this church about 1854 and while 
the name of the first organist is not 
definitely known it is recorded that 
Mrs. William Thorndike officiated in 
that capacity for a long time. Among 
the singers at this church were Colonel 
Timothy Williams and his wife, who 
sang both at this church and at the 
Methodist Church, James Crockett, 
Mr. and Mrs. Samuel Tibbetts, Alda- 
na Crocker, Herman Stevens, Charles 
Crockett, Horace Perry, Mrs. H. N. 
Keene, Mr. and Mrs. Charles Tibbetts, 
Ellen Pendleton, Samuel Tibbetts, Jr., 
and S. T. Mugridge. 

The choir at the Second Baptist 
Church, organized about 1851, has al- 


ways had excellent singers in it. S. H. 
Chapman led the choir at one time and 
Mrs. Louise Furbish played the organ 
for a long period in this church. Au- 
gusta and Theresa Butler were among 
the sopranos and Mrs. M. A. Achorn 
was prominent among the altos. B. P. 
Roberts and A. T., Low were among 
the bass singers. 

During this period singing schools 
were several times in evidence in the 
“Old Yellow School House.” There 
were nearly a dozen vocal teachers in 
Rockland at this time. 

Mary Berry was a teacher of juve- 
nile singing in the old Lovejoy House 
and another teacher was Professor 
John Singhi. Mr. Singhi came to Rock- 
land in 1833 and was immediately rec- 
ognized as a thorough musician. He 
was a native of Italy, and, like many 
foreigners, had his eccentricities. He is 
said to have been one of the best trom- 
bone players ever known in the vicinity 
of Rockland, 

E. S. Blaisdell was another singing 
teacher of about this period. At one of 
his concerts Frances Snow, Mary Sears 
and Melissa Condon were among the 
soloists, and Charles Libby was an- 
other, while Harriet Jones taught both 
piano and singing. 

Stephen H. Chapman, who moved 
from Damariscotta to Rockand, taught 
singing school at the North end at one 
time. He had a splendid bass voice 
and led the choir at the Cedar Street 
Church. He was considered one of the 
finest of the early musicians of Rock- 
land. He was the first man to enlist in ~ 
the Fourth Maine Regiment and the 
first to bekilled inthe Battleof Bull Run. 

When the Civil War came on Mrs. 
R. S. Mayhew, who had taught juve- 
nile classes at Rockland, entered the 
army as a nurse. 

Albert Smith, a native of Warren, 
was one of the earliest singing teachers 


ee re ee? ae, ay ~~ aS (ec ‘ga Se A 


MUSIC OF THE STATE OF MAINE— 1836-1856 103 


in Waldo County. Nearly all the sing- 
ers of Rockland of his day attended 
his singing schools. Although he never 
had the advantages of vocal training 
he was thoroughly grounded in the 
principles of music. 

Mary Ann Hovey, who taught juve- 
nile school in her father’s house for 
some years, was quite accomplished as 
a pianist, and her father owned the 
first piano to be brought to Rockland. 
It is said that this piano later came in- 
to the possession of N. B. Cobb of that 
city. 

Among the earliest teachers of piano, 
violin and organ were Mr. ‘Whipple, 
Albert G. Merrill, E. S. Bradley and 
Mrs. Collins. 

One of the oldest musical organiza- 
tions in Bath was The Musical Asso- 
ciation of Bath which was organized 
in December, 1835. It numbered many 
fine singers who gave concerts through- 
out the winter of 1836-37 in towns and 
cities in Western Maine, including the 
City of Portland. 


Luther Whiting Mason 


Luther Whiting Mason, acclaimed 
by the people of the Japanese Nation 
as their great benefactor in music, and 


honored alike in America and Ger- 


many for his achievements as an edu- 
cator, was born in Turner, Maine, 
April 3, 1818. He was a direct de- 
scendent of Captain Hugh Mason, of 
early historical fame in New England, 
who was an ancestor of many distin- 


- guished Americans, including Doctors 


William and Lowell Mason and Daniel 
Webster. 

The death of his father, following in 
the wake of disastrous floods which 
had destroyed large tracts of forest 
land owned by him, thereby causing 
the family fortune to be wrecked on 
the rocks of unfulfilled contracts, left 
his mother in destitute circumstances 


with four young children, two girls and 
two boys, of which the eldest was Lu- 
ther. A few years of desperate strug- 
gle found the children scattered among 
relatives, with Luther living in Gar- 
diner in the care of Silas Mason, his 
half brother by a former marriage of 
his father. 

In order to do his share of the work 
necessary to his maintainance, Luther 
arose at four each morning during the 
winter months that he might “make” 
the necessary time to attend his classes 
in the village school, wrote his studies 
on a black-board in the workshop of 
his brother, who was a last maker, and 
learned them while he worked. 

By nature a musician, he applied 
himself with diligence to learn the ele- 
ments of music at home. He soon be- 
came the leader of a church choir and 
applied for and obtained a certificate 
as a teacher in a common school in 
order that he might have more time to 
develop his musical talents. 

From his slight means as a school 
teacher he was enabled to pursue his 
studies at the Gardiner Lyceum, and 
with a substantial addition to his in- 
come from the establishment of a sing- 
ing school, and the help of his brother 
Silas, he was soon able to go to Boston 
where he entered the school of Lowell 
Mason, George F. Root and William 
Bradbury. 

After receiving his certificate to teach 
he accepted an offer of a position as 
private tutor to a wealthy Scotch gen- 
tleman in Gorham, Maine, where he 
was able to continue his studies at the 
Academy through the equivalent of the 
freshman year at college. He then be- 
came assistant teacher to a gentleman 
who had a large class in music in Phil- 
adephia. 

His first venture in the work to 
which his life came to be devoted was 
as a teacher of English branches and 


104 MUSIC AND MUSICIANS OF MAINE 


music in the Academic Department of 
Delaware College where he taught mu- 
sic to one hundred and twenty boys 
whose ages ranged from seven to twen- 
ty-one years. 

He enrolled as a regular student in 
Delaware College while acting as 
teacher of music in that institution, 
and at the end of the year he gave a 
concert with his pupils who so well 
performed under their talented master 
that he was invited to become the di- 
rector of the choir in one of the most 
fashionable churches in Baltimore. 

In this city he married Hannah Al- 
len and to them were born four chil- 
dren, two of whom, Mrs. H. A. Irish 
and Catherine Mason, survived him. 

Through the influence of his brother, 
Dr. E. W. Mason, he afterwards be- 
came teacher of music in the public 
schools of Louisville. Hearing of his 
success, a committee was sent from 
Cincinnati and their report resulted in 
an offer that he could not afford to re- 
fuse. From one of the teachers of Ger- 
man in Cincinnati Mr. Mason received 
a copy of C.H. Héhmann’s 4 Practical 
Course of Instruction in Music on 
School Principles, the first graded 
course of music to be published in any 
language, and from this he developed a 
system which he placed before leaders 
in music at Boston and New York. 

Carl Zerrahn was one of the first to 
see the possibilities of the work and 
by his advice the publication of it was 
undertaken by Oliver Ditson with the 
result that it is said to have caused a 
revolution in school music throughout 
the country and was inimediately re- 
sponsible for the publication of “The 
National Music Course,” the most suc- 
cessful system of school music ever 
published. 

In Boston, to which city he was next 
called, aided by the hearty codperation 
of the School Committee and the Su- 


perintendent, he achieved such unpar- 
alleled results that he became famous 
as an educator and his music books 
came to be used in nearly every city 
in the country. 

At the Centennial Exposition in 
Philadelphia in 1876 Professor Mason 
became so interested in the Japanese 
exhibit that he was led to inquire about 
the condition of music in the Empire, 
so he sought an interview with M. Ta- 
netaro Megaba, who then held the title 
of Vice Minister of Education from 
Japan to America. | 

Meanwhile representatives of the 
Japanese Government to the Centen- 
nial Exposition, who had become in- 
terested in the “National System of 
Music Books and Charts,” had taken 
with them a set to Japan, and Profes- 
sor Mason was soon after requested to 
undertake the work of introducing the 
American style of music into that 
Country. 

Before leaving to take up his new 
duties as Director of the National Nor- 
mal Institute of Music, which was un- 
der the control of the Department of 
Education in Tokio, Professor Mason 
was tendered a farewell reception, in 
Boston, at which his services to the 
city were duly recognized. 

The story of the results of Professor 
Mason’s labors in Japan reads like a 
fairy tale, for to the Japanese people 
he became a magician who brought to 
their hearts joys of which they had 
never even dreamed. It is written that 
“he introduced to the Japanese a sys- 
tem of music entirely new to them. He 
taught them to sing and play music 
written in the eight-tone scale, instead 
of the barbaric five-tone scale to which 
they were accustomed. He taught them 
to play the piano, the organ, the violin 
and all the other instruments of our 
modern orchestra, and to sing music in 
several parts. Harmony was unknown 


MUSIC OF THE STATE OF MAIN E— 1836-1856 105 


in their primitive music, and, when the 
pure major chords of our system of 
music sounded in their ears, their eyes 
filled with tears at the new world of 
beauty thus opened to them. 

“He trained them to teach the new 
music. From his school in Tokio, 
teachers went to every part of the is- 
land, and the ‘Mason Song,’ as the 
Japanese fondly called American mu- 
sic in honor of him who had taught it 
to them, was soon sung from one end 
of the empire to the other. 

“The Japanese recognized the genius 
of one who, in a brief three years, could 
make of them a musical nation, and 
never was a musician and teacher the 
recipient of more honors than Profes- 
sor Mason received at their hands.” 

On leaving Japan he was showered 
with gifts in profusion from those who 
had met and known him. Children 
from the Kindergarten presented him 
with little slips of paper on which they 
had painted simple little subjects with 
their own hands or written verses 
which were meant for him. Some were 
quite pathetic. A free translation of 
one of these reads, “Why are my 
sleeves so wet before the autumn dew 
has come? It is the tears of my sor- 
row to part with you.” 

From the University of Tokio he re- 
ceived the degree of Professor. 

The Mikado presented him with a 
magnificent pattern of cloth of gold 
and the Empress, that she might duly 
express her gratitude to the benefactor 
of Japan, granted him a public audi- 
ence. He was the first foreigner ever 
to be so highly honored. 

On his return to America a recep- 
tion, at which the Mayor presided, was 
tendered him by the citizens of Boston. 
He immediately began a revision of his 
Music Course and visited nearly every 
part of the country in the endeavor to 
establish music firmly in the schools of 


those cities where it had hitherto been 
neglected. 

While spending several months in 
Europe in 1872, in search of health, he 
studied the school system of music in 
Switzerland. In 1874 he visited John 
Curwen in England and during his stay 
was the guest of this founder of the 
Tonic Sol-Fa System. 

In 1883 he traveled extensively in 
Norway and Sweden and visited the 
schools in every part of the Scandi- 
navian Peninsular. 

In 1890 he went to Europe for the 
purpose of studying the school system 
in Germany. After four months in 
Berlin, studying the training of the 
Dom (Cathedral) choir, he went to 
Leipzig where he attended classes week 
after week that he might improve “The 
National Music Course” which had 
been so popular in the United States 
for more than twenty years. In Ger- , 
many he was repeatedly invited to ad- 
dress societies of musicians and teach- 
ers. Among those who heard him ex- 
plain the principles of his system were 
Carl Reinecke, S. Jadassohn, Julius 
Klengel, Heinrich Klesse, Professor 
Oscar Paul and Prof. Albert Becker, 
all of whom were enthusiastic in their 
praise of his work and method. 

As a result of these addresses a com- 
mittee, consisting of a public school 
teacher, a choir master, an organist, a 
musician, an editor an author and two 
interpreters and secretaries, were ap- 
pointed to codperate with Professor 
Mason in compiling a German edition 
of his Music Course. 

After months of painstaking effort 
in which every detail in connection 
with the undertaking of such a work 
the German edition was published un- 
der the title “Neuegesangsschule.” 

Professor Mason’s achievement in 
Germany, the land of music, may be 
regarded as a national compliment 


106 MUSIC AND MUSICIANS OF MAINE 


equalled only by his unparalleled suc- 
cess in the realm of the Mikado. 

Another complimentary testimonial 
was tendered Professor Mason in 1895 
when many notable representatives 
from America and foreign countries, 
where his personal activities had made 
an impress, were present and made 
memorable allusions to the great in- 
fluence of his work among their people. 
None, however, was more striking than 
the speech by Rev. Watan Kitashima, 
a Japanese gentleman educated in 
America, who was the personal repre- 
sentative of Hon. Washizachi, Consul- 
General of Japan, who was prevented 
at the eleventh hour from attending 
the banquet. 

“TI wish to testify to the position of 
Professor Mason in Japan. 

“His work there was of the highest 
importance. The position of a foreign 
music teacher in Japan was very diffi- 
cult. The Japanese music is little more 
than noise. In a concert, the Japanese 
musicians go as they please. Each one 
sings something else. Professcr Ma- 
son came to us to build the foundation 
of musical science. The Japanese, in 
one way, are a musical people. The 
language is very soft and melodious. 
Professor Mason, with his prophetic 
spirit, built according to the genius of 
the people. Every one in the empire 
interested in music looked to Professor 
Mason for assistance. He had to adapt 
the Japanese instruments to his meth- 
ods. You cannot imagine how diffi- 
cult his work was.” 

Referring to one who had spoken 
before him, Mr. Kitashima continued, 
“Mr. Chase spoke of electing a presi- 
dent by means of music. I can tell you 
a bigger fact than that. The result of 
the Chinese-Japanese War is due to 
Professor Mason’s music. The Japanese 
troops sang ‘Hail, Columbia!’ ‘Ameri- 
ca’ and ‘Marching through Georgia,’ 


and won their battles. Professor Ma- 
son had taught them these. 

“Professor Mason gave the Japanese 
their musical foundation, and now the 
Japanese are able to express their sen- 
timents in music as well as in words. 
It is all due to Professor Mason. His 
music is making that happy nation still 
happier. Professor Mason’s music has 
made the complexions of the children 
better and their eyes brighter. His 
name is almost a household word. He 
is venerated by all the Japanese musi- 
cians. He has done far more for Japan 
than many of the missionaries. 

“Professor Mason, forty millions of 
my people greet you; forty millions 

now your works. Four millions of 
their gods are invoked to bless you. 
Your works are immortal in the land 
of the rising sun.” 

One of the things that Professor Ma- 
son stressed at this reception was the 
great need of the cultivation of music 
in the rural schools in America. “I 
have one ambition, it seems to me, for 
the future. That is in connection with 
this matter of rural schools. Taking 
the whole country over, I think that 
more than seventy-five per cent have no 
regular instruction in music. Therefore 
my ambition in the future is to make 
provision for musical instruction in 
those schools not now provided for.” 
Thereafter his labors were principally 
directed to the production of the course 
now named in his honor, ‘“The Mason 
School Music Course.” 

On July 14, 1896, Professor Mason 
succumbed to an attack of heart failure 
brought on by an accident, followed 
shortly by the death of his wife. Had 
he lived but a few days longer he would 
have received the greatest honor in the 
power of the Japanese people to be- 
stow upon a foreigner —the award of 
the Decoration of the Third Rank — 
but as all decorations must be returned 


heal 


aie et) ee ae Se ee ee Ae 


MUSIC OF THE STATE OF MAINE— 1836-1856 


107 


on the death of the recipient, the Jap- 
anese Minister in Washington returned 
it to his country. A large photograph 
of it, together with a pair of valuable 
Cloisonné vases, was sent his family 
as a gift from the Emperor. 

Few men in the musical profession 
have been more honored or praised in 
their lifetime than Luther Whiting 
Mason. 

His great accomplishment was equal- 
ly recognized by the people of practical 
America, the educators of musical Ger- 
many and the ambassadors of the ab- 
solute ruler of Japan. 

But though he had taught nations 
to sing, when, at last, he came back to 
mingle with his early friends and enjoy 
the simplicity of his former life, he 
found no greater joy than in giving ele- 
mentary instruction to classes of little 
children and helping the humblest to 
learn the rudiments of music, just as 
when a boy he had taught his first 
singing school in Gardiner, Maine. 


Luther Orlando Emerson 


Luther Orlando Emerson (1820- 
1915), who was born at Parsonfield, 
Maine, was the youngest son of Luther 
Emerson, a farmer. He was educated 
at the Parsonfield Seminary and Ef- 
fingham Academy. The Emersons were 
all musical, but there was little oppor- 
tunity for the cultivation of music in a 
place so remote. His father, who was 
a good violinist, bought him a violon- 
cello and gave him instructions on that 
instrument, so that in a short time he 
was able to play with the village choir. 


When he became of age he went to 


Boston and attended the Dracut Acad- 
emy. He continued his practice of mu- 
sic at the academy, and, three years 
later, began a course of musical in- 
struction under I. B. Woodbury, and 
afterwards studied voice, piano, organ 
and harmony with some of the best 


LUTHER ORLANDO EMERSON, COMPOSER AND CHO- 
RAL CONDUCTOR. FIRST MUSICIAN OF NOTE KNOWN 
TO HAVE BEEN BORN IN THE “STATE OF MAINE” 
(1820). COURTESY OF OLIVER DITSON CO., BOS- 
TON, MASS. 


teachers in Boston. Following several 
years of preparation he began his pro- 
fessional career as a teacher at Salem, 
Mass. During the eight years that he 
was in Salem he composed a collection 
of choir hymns and anthems. He had 
great difficulty in securing its publica- 
tion and when it was finally placed be- 
fore the public it proved a failure. Re- 
turning to Boston he accepted a posi- 
tion as organist and diréctor of music 
at the Bullfinch Street church which he 
held for four years. 

Eight years more were spent as or- 
ganist of the Second Congregational 
Church at Greenfield, Mass., and as a 
teacher in the musical department of 
Powers’ Institute, at Bernardston, 
Mass. It was not uatil he began de- 
voting his time and talents to raising 
the standard of church music that he 
began to attain real success. He <hen 
became active in musical conventions 
and festivals all over the country and 
was much sought after as a lecturer on 
music and us a baritone singer. It is 
said that he conducted three hundred 
and fifty festivals in the United States 
and Canada. He had a magnetic per- 


108 MUSIC AND MUSICIANS OF MAINE 


sonality and was able to obtain re- 
markable results with his singers. 

From Findley College, Findley, 
Ohio, he received his degree of Mus. 
Doc. He married Mary Gove of Bos- 
ton. 

As a composer of church and school 
music Mr. Emerson became famous. 
Among his publications are “The 
Golden Wreath,” of which forty thou- 
sand copies were sold; a song book for 
schools; “The Golden Harp,” a Sunday 
School book; “Sabbath Harmony,” for 
church; “Harp of Judah,” a book of 
church music which became very pop- 
ular; “Jubilate,” “Choral Tribute,” 
“Standard and Leader,” “The Ideal,” 
“Jehovah’s Praise,” “The Royal Sing- 
er,” “The Salutation,” “Voice of Wor- 
ship” and “Emerson’s Vocal Method.” 
He published in all about thirty-five 
books for churches, schools, societies, 
and the household. Among Mr. Emer- 
son’s songs, of which he wrote about 
eighty, were the well-known “We Are 
Coming, Father Abraham,” Whittier’s 
“Negro Boatman’s Song,” “Out in the 
Cold,” and many others. He also com- 
posed three masses, a nuinber of an- 
thems, string quartettes, piano pieces, 
cu. 

It is claimed that he was the best 
melodist of all the psalmody writers, 
and if he could have had an opportun- 
ity for the proper development of his 
talent when young, he would undoubt- 
- edly have distinguished himself as a 
composer of anthems and music in the 
higher forms. In all, more than one 
million five hundred thousand copies 
of his works were sold. He was a resi- 
dent of Hyde Park, Massachusetts, at 
the time of his death. 

Mr. Emerson’s birthday was August 
third in Maine’s natal year, and, from 
all the facts obtainable, it appears that 
he was the first musician of note to be 


born in the newly incorporated State 
of Maine. 


William Batchelder Bradbury 


William Batchelder Bradbury, of 
whom mention is made in a preceding 
chapter, was born at York, Maine, in 
1816, and it seemed for a time as if he 
were destined to be a farmer. His 
father was leader of the choir and his 
mother was also musical. The boy, 
William, worked on his father’s farm 
until he was fourteen years old, when 
the family removed to Boston. While 
in his Maine home he had taught him- 
self to play upon such musical instru- 
ments as were then accessible, but he 
had never seen a piano or organ before 
he went to the capital of the Common- 
wealth. With a spirit worthy of his 
grandsire, who was one of the Signers 
of the Declaration of Independence, 
he decided that he would be a musi- 
cian. He began at once to take les- 
sons, and within three years became a 
dependable organist. Removing to New 
York in 1840 he began his career as 
teacher of music and eventually had a 
large number of pupils in the metrop- 
olis and nearby cities. So successful 
was he that seven years later, when but 
a little over thirty years old, he took 
his family for a trip abroad, and visit- 
ed the principal countries on the con- 
tinent. At Leipzig he spent some time 
in study, and, returning to New York 
in 1849, he began his career as conduc- 
tor of musical conventions and editor 
of singing books. He composed many 
songs that became popular and had an 
enormous sale. He was a prolific writer 
as well as a composer and contributed 
numerous articles on musical compo- 
sition to the magazines of the day. 

In 1854, in partnership with his 
brother, E. G. Bradbury, he began the 
manufacture of the Bradbury pianos, 
which at one time were famous for 


,. Sr AS a ies Bl =e —~_— =  # 


- 


a aaa Sl AS 


<upers a re a 


a i Ea a 


MUSIC OF THE STATE OF MAINE— 1836-1856 


109 


their quality. He published more than 
twenty collections of music. “The Ju- 
bilee,” which appeared in 1858, reached 
a sale of more than two hundred thou- 
sand copies. The success of these books 
was attributed to the rhythmical quality 
of the music in them, and especially 
popular were the compositions by Mr. 
Bradbury himself. 

His sacred cantata, “Esther,” has 
been sung thousands of times as a canta- 
ta, and presented as an opera in costume 
with scenery many hundreds of times. 

Among his other contributions to mu- 
sic are “The Golden Chain,” 1861, ““The 
Key Note,” 1863, “The Shawn,” 1864, 
“The Temple Choir,” 1865, and “Fresh 
Laurels,” 1867. 

He died at Montclair, New Jersey, 
January 8, 1868. 

Winthrop in the forties was quite 
remarkable, for a country village, on 
account of its proportionately large 
number of exceptional male singers. 

It would have been unusual to find 
such a number of rare voices even in 
a good sized city. Samuel Thurston, 
writing of this fact in his Reminis- 
cences, says, “The Bass was a profun- 
do having a range from low C to F of 
full round tones of an unusually mu- 
sical quality, always at command. Ten- 
ors who sing high C easily do not grow 
on every bush in New England, but 
Winthrop had three such, and one of 
them had a voice remarkable for its 
sweetness, compass and power. Win- 
throp had a male quartette and had no 
difficulty in finding a suitable voice for 
the first tenor.” Unfortunately Mr. 


Thurston omitted the names of these 


singers from his paper but they were 
undoubtedly among those whose names 
follow. 

Among the most notable tenors in 
Winthrop at this time was George Fair- 
banks, who later moved to Wayne and 
whose son, George Fairbanks, Jr., was 


DR. ALBERT FISK STANLEY, TEACHER OF SINGING 
SCHOOLS IN WINTHROP IN THE FORTIES. 


also musical; George Card, who died 
in 1849 when still a young man; Joseph 
W. Esty, who died about 1885, when a 
little more than fifty years old; John 
Russell Shaw, who was the father of 
three musical daughters of whom, per- 
haps, Mary, a contralto, possessed the 
most beautiful voice; Dr. Albert Fisk 
Stanley, an old-time singing teacher, 
and Charles Glidden, a member of the 
Congregational Church choir, who 
played cornet in the old band; while 
among the prominent bass singers was 
Elias Miller Card, who died about the 
beginning of the present century, after 
he had attained an age of more than 
ninety years, and who was also a mem- 
ber of the Congregational Church 
choir. 

Dr. Albert F. Stanley, a native of 


110 MISS LC> ASN DD 


MUSICIANS OF MAINE 


Attleboro, was educated at Bowdoin 
College where he received his degree 
of M.D. in 1829. He practiced medi- 
cine in Dixfield for twelve years and 
moved to Winthrop in 1843 where he 
died about 1857. 

Horace Gould, an old time singing 
teacher who visited Winthrop in the 
thirties and forties, was one of the 
prominent men of his time. 

Other notable singers were Susan 
Stanley, who afterwards married Cy- 
rus Bishop, and Hannah Joy, who mar- 
ried Orrin Stanley. Mrs. Stanley died 
about 1870 at nearly sixty years of age. 

The first organ in the Old Winthrop 
Church was made by Deacon Stephen 
Sewell. This was sold to the South 
Paris Congregational Church in 1848. 
A new organ was purchased about that 
time, when Matilda Sewell, who later 
married Dr. A. P. Shaw, became the 
organist. 

Columbus Fairbanks of Winthrop 
was the father of a talented family 
consisting of three sons and two daugh- 
ters. Horatio Wood Fairbanks (1827- 
1856), the eldest son, was of fine per- 
sonal appearance, of genial disposition, 
and had, in no small degree, the gift of 
music. He was an organist in Win- 
throp and Boston churches. It is said 
of him that “He played the organ with 
a great deal of expression, compre- 
hending the soul of music and brought 
forth from the keys the most wonder- 
ful melody.” Of his sister, Phebe Fair- 
banks, it is recorded that “she de- 
lighted all who heard her play the or- 
gan with her delicacy of touch and in- 
terpretation.” 

The Baptist church of Wayne, the 
frame of which was raised in 1820, had 
its first melodeon placed in the edifice 
in 1849. This was followed by a sera- 
phine in 1856 which was used by the 
church until 1880 when a new organ 
was installed. 


When the North Wayne church was 
dedicated in 1851 there was “a fine or- 
gan presented by the ladies circle” and 
“a fine choir rendered appropriate 
selections.” 

The first musical organization in 
Saco was probably the old Beethoven 
Musical Society which met for rehears- 
als in the forties and fifties in Auber 
Hall. This association was conducted 
by a Mr. Pinkham and he was assisted 
by an Englishman named Vickery, 
who played a meiodeon, 

While South Paris and Norway did 
not make any pretentions to fame in 
the matter of musical societies during 
this period, Oxford County, then, as 
later, contributed a large proportion 
of men and women who became indi- 
vidually prominent in music in Maine. 

Captain Benjamin Maxim, who mar- 
ried Susan Harlow, was the founder of 
a family of Maxims, who were, like 
themselves, musicians, poets, writers, 
artists and teachers. It is said that 
people came from far and wide to en- 
joy the hospitality for which both were 
famous, and to listen to their instru- 
mental music. 

Mrs. Maxim was the author of the 
poem, “Welcome to Kossuth,” which 
commemorated Louis Kossuth’s visit 
to this country. The poem was widely 
copied and recited throughout the 
country. 

Portland seems to have been well 
supplied with music teachers in the 
thirties. In 1835 Lyman Heath en- 
gaged the vestry of the Third Parish 
Meeting House, Portland, for the pur- 
pose of giving vocal lessons, and R. 
Foster “offered his services” as an in- 
structor on musical instruments. 

Two of those, who had names that 
must have sounded strange to the ears 
of the people of that period, were 
Charles Plewinski and Julian K. Rozy- 
ikowski, who advertised in 1836 as 


MUSIC OF THE STATE OF MAINE— 1836-1856 Ill 


teachers of music, languages and fenc- 
ing, and specialized on the guitar and 
in French and German, but their stay 
was a short one. 

In 1836 William Gage announced 
that he was ready to give instructions 
in the Pestalozzian System at the ves- 
try of the First Baptist Church; and 
L. M. Dow taught Massini’s System 
in his rooms over the Canal Bank. 

The first name in the Portland Di- 
rectory for 1837 is that of a music 
teacher, Charles Abbott, who boarded 
“at Lemuel Sawyers.” 

In this year “Mr. Barnes” taught 
German flute and fife at his school of 
music; the Gorham Academy adver- 
tisd that “Vocal musick is taught free 
of charge. For instruction on the pi- 
anoforte, tuition is $6”; Mrs. Ostinelli 
announced that, having returned to the 
city, she was prepared to give lessons 
on the pianoforte and singing, applica- 
tion to be made at the Cumberland 
House; H. A. Brockway, who adver- 
tised as professor of the flute from 
Boston, taught there for a season; and 
in the fall of that year P. W. Neal an- 
nounced that he would open an eve- 
ning school of music “as soon as a class 
of twenty can be formed.” 

Prof. Serafino Rebbechini, one of 
the early Italian teachers of singing to 
come to Maine, opened up a room 
where he taught the old Italian method 
of singing. Not being able to speak 
English readily and not having a very 
good singing voice, himself, he could 
not get established in Portland and 
therefore his stay was brief. 

T. Vanden Berg was another who 
taught piano at this time. 

Among the music teachers in Bruns- 
wick at this period were Charles J. 
Noyes, who opened a school for in- 
struction in vocal music in 1836, and 
Fannie White, who was a teacher in 
Miss Hinckley’s school in 1842. 


L. W. Additon founded a singing 
school in Lewiston in 1843. 

In Vassalboro, Coker Marble was 
teaching singing school, which he car- 
ried on for more than twenty years, 
and Cornelius Waters was a singing 
teacher in Gorham for a like period. 
Mr. Waters was chorister at the Old 
Church there and the leading musician 
of the town. 

During this period, 1836-1857, there 
appeared a number of musical publi- 
cations by Maine composers and com- 
pilers. 

In 1839 Benjamin Sweetsir, Jr., com- 
piled the “Cumberland Collection of 
church music being a selection of the 
best psalm and hymn tunes, anthems, 
fancy pieces, etc. from Eurcpean and 
American authors, together with many 
pieces never before published, designed 
for the use of schools and musical so- 
cieties.” 

On the title page are found the fol- 
lowing lines on music: 

What thinkst thou Music was ordained for? 
This angels love, and devils do abhor; 
’Tis Music which doth evil spirits quell, 
And clearly differs that of Heaven from Hell. ... 
This heavenly art the best of men do use, 
And ’tis the thing the worst of men refuse — 
And such as do despise this sacred mirth 
Are neither fit for heaven, nor earth. 

— Tansur. 

The Cumberland Collection was pub- 
lished by William Hyde of Portland 
and contained three hundred and four 
pages. 

In 1841 Social Melodies, a collection 
of Hymns for the use of prayer meet- 
ings, Sabbath-schools, bible classes and 
families by C. C. Burr was published 
by S. H. Colesworthy of Portland and 
B. B. Mussey of Boston. This volume 
contained two hundred and eighty- 
eight pages and on the title page ap- 
peared the couplet: 


For never harp or lyre revealed 
Such music as the heart can yield. 


112 MUSIC AND MUSICIANS OF MAINE 


“The Portland Sacred Music Soci- 
ety’s Collection of Sacred Music con- 
sisting of Psalm and Hymn tunes, an- 
thems and chants, composed and com- 
piled under the special patronage of 
the Portland Sacred Music Society and 
adapted to the use of the choruses, 
choirs and the social circle arranged 
with small notes for the organ or pi- 
anoforte compiled by David Paine, or- 
ganist of the Portland Sacred Music 
Society and the Park Street Church,” 
appeared in 1839. 

Charles P. Ilsley wrote some of the 
music for this collection which had 
more than ordinary merit. 

John Edgar Gould (1820-1875) of 
Bangor was a fine musician, pianist, 
organist and teacher of music. He 
composed several hymn tunes, anthems 
and chants and his collection, The 
Modern Harp and Songs of Gladness, 
»published in 1840, proved a popular 
psalm book. He died in Algiers, Afri- 
ca, February 13, 1875. 

The American Vocalist (1849), by 
Daniel H. Mansfield (1810-1855), a 
Bangor clergyman, “A selection of 
tunes, anthems, sentences and hymns 
old and new, designed for the church, 
the vestry or the parlor. Adapted to 
every variety of metre in common use, 
and appropriate to every occasion 


where God is worshipped and men are 
blessed. From the compositions of Bil- 
lings, Holden, Maxim, Edson, Holy- 
oke, Read, Kimball, Morgan, Wood, 
Swan etc. and eminent American au- 
thors now living as well as from the 
distinguished Europeancomposers. Em- 
bracing a greater variety of music for 
congregations, societies, singing schools 
and choirs than any other collection 
extant. Inthree parts. By D. H. Mans- 
field, Boston,” was published by W. J. 
Reynolds & Co., 24 Cornhill. Nearly 
one hundred thousand copies were sold 
in 1836. 

Among other musical publications 
issued in this period, but undated, was 
Scriptural Melodies (Hymn Book), 
published in Portland by Thurston and 
Company. It consisted of four hun- 
dred and forty-five pages and was 
compiled by Joshua Smith and Sam- 
uel Sleeper. 

In 1838 A Memoir of Joseph Stone, 
with selections from his original poetry 
and music, was printed by Samuel S. 
Smith, Bangor, 1838. 

The Musical Journal, a monthly 
magazine, was published in Brunswick 
in 1855. George W. Chase was the ed- 
itor and proprietor. Its existence was 
unfortunately of short duration. 


ee: a ee ee 


Clie 1 eee y, 


Tue Music oF THE STATE oF MAINE 


Tuirp Periop 1857 - 1896 


Thy sons are known from east to west, 
State of Maine, my State of Maine, 
We hail thee and we call thee blest, 
State of Maine, my State of Maine, 
Land of the Pine Tree and of rest, 
To thee we give our very best, 
Extending welcome to each guest, 
State of Maine, my State of Maine. 


We the passing of the Portland 
Sacred Music Society, in 1854, 
music had fallen to a low ebb in the 
Forest City. Several futile efforts were 
made to revive this organization, though 
without success. The year 1857, how- 
ever, marked the beginning of a new 
epoch in music in Maine, for in that 
year was organized the Haydn Asso- 
ciation, a Portland musical society 
which during the first thirty years of 
its existence was instrumental in bring- 
ing choral music in Maine to such a 


superb state of perfection that it has 


never since been surpassed by any in 
the State, and equalled by few, if any, 
in the country. 


The Penobscot Musical Association 


Meanwhile at Bangor the Penobscot 
Musical Association was undertaking 
the study of the classics and drawing 
on Portland, Boston and other cities 
for talent for its concerts. 

In 1858 the Maine State Musical As- 
sociation met with the Penobscot so- 
ciety and Hon. William Rice of Bath, 
Mayor of the city, was elected Presi- 
dent of the united societies. 

More than forty Maine towns and 
cities, covering a radius of over ten 
thousand square miles, were represent- 
ed in the membership of the society in 


1859. 


113 


Even through those dreary and heart- 
sickening days when the best men of 
a nation, divided against itself, were 
engaged in shedding each other’s blood, 
the people of Eastern Maine were 
cheered by the annual concerts of the 
Penobscot Musical Association, the 
programs of which were made up, for 
the most part, of selections from Ora- 
torio. 

The war ended, the people seemed 
thore eager than ever for music. In 
1866 L. H. Southard was chosen di- 
rector. 

Among those who represented the 
Penobscot Musical Association in the 
Boston Jubilee in 1869, when it sent a 
delegation of fifty-seven of its mem- 
bers, were F. S. Davenport, director; 
E. F. Duren, marshal; G. W. Merrill, 
who acted as sub-marshal of the “so- 
prani”; B. F. Bradbury of the “alti”; 
L. A. Torrens of the “tenori”; and F. 
W. Hardy of the “bassi.” ‘The Society 
was the first organization outside of 
Boston to announce its intention to be 
present at Gilmore’s Musical Congress 
and Jubilee in 1872, at which it was 
represented by over one hundred mem- 
bers. 

The first great achievement of the 
society was accomplished in 1869 when, 
under the direction of Carl Zerrahn, 
conductor of the Handel and Haydn 
Society of Boston, assisted by George 
F. Root, the Oratorio “Samson” was 
performed. Among the soloists on this 
occasion were J. W. Webster and My- 
ron W. Whitney. Rev. S. P. Fay was 
pianist. : 

In 1870 “The Messiah” was pre- 
sented. This performance was under 


114 MUSIC AND MUSICIANS OF MAINE 


the direction of Professor Southard. 
Mrs. H. M. Smith, Flora Barry, W. J. 
Winch and J. F. Winch were the 
soloists. 

Flora Barry had already become one 
of the greatest contralto soloists of the 
country and here, as in other places 
where she appeared, she received an 
ovation. 

The chorus, on this occasion, num- 
bered six hundred voices, and the per- 
formance was highly praised on every 
side. The Whig, in its notice of this con- 
cert, referred to Bangor as the most 
musical city of its size in America, a 
statement which is believed to have 
been altogether truthful at that time, 
for then, when its population was but 
twenty thousand people, there were, 
within its corporate limits, ““T'wo large 
and well organized musical societies; 
half a dozen musical clubs; thirty piano 
teachers; a band that was second to 
none in Maine; several orchestras of 
acknowledged talent; quartettes with- 
out number; thirteen .good church 
choirs and two hundred young people 
studying music, mostly there, but some 
in foreign countries.” 

Rossini’s “Moses in Egypt” was giv- 
en by the society in 1871, L. H. South- 
ard again directing, and the parts taken 
were: Queen, Laura M. Cook; Esther, 
Mrs. J. A. Crowell; Aaron, L. E. 
Holden; and Pharaoh, G. T. Moody. 

A wonderful performance, and a 
week long to be remembered, was the 
verdict of those so fortunate as to 
attend. 

Other soloists, at this convention, 
were John R. Mason and Mrs. W. H. 
S. Lawrence, vocalists, and Abbie Gar- 
land, pianist. 

In 1873 and 1874 George F. Root, 
who had returned to the East again, 
after his disastrous exp2rience in the 
Chicago fire, successfully directed the 
association. Dora Wiley, who had made 


her debut to the Bangor public at the 
1873 convention, was a soloist. 

Willard Patten was a notable soloist 
at the 1879 convention. 

In 1880 the Penobscot Society agaia 
performed Rossini’s “Moses in Egypt.” 
The chorus was accompanied by An- 
drew’s Orchestra and F. S. Davenport 
acted as pianist. 

The thirty-seventh session of the Pe- 
nobscot Musical Association was held 
in Bangor in 1884. J.C. Bartlett directed 
the chorus which was accompanied by 
Andrew’s Orchestra, led by Melville 
H. Andrews. | 

At this meeting the President, George 
W. Merrill, the Vice President, T. J. 
Stickney, and E. F. Duren, who had 
served the society as its Secretary since 
its incorporation in 1848, resigned. 

Rev. John Smith Sewell, D.D., for 
thirty years Corresponding Secretary 
of the Bangor Historical Society and 
one of the most popular ministers Ban- 
gor ever had, was elected President. 
George S. Silsby was elected Vice Pres- 
ident and George M. Brown became 


Secretary of the association. Interest — 


in the work of the society had, how- 
ever, begun to wane. The days of the 
popularity of the Music Convention 
had come and gone and the financial 
problem could not be met without the 
full and undivided support of the peo- 
ple. There was a great falling off in 
attendance and this honorable society 
which had served the people of East- 
ern Maine for so many years just nat- 
urally seemed to pass out of existence. 

ElInathan Duren (1814-1916), son of 
Elnathan and Elizabeth Freeman Dur- 
en, the life secretary of the Penobscot 
Musical Association, inherited his mu- 
sical talent and love of music from his 
father, who was a Boston merchant and 
one of the founders, it is said, of the 
Handel and Haydn Society of that city. 

He began singing in the church 


eee 


Sn 


MUSIC OF THE STATE OF MAINE-— 1857-1896 115 


choirs when he was so small that he 
had to stand on a stool in order that he 
might look as tall as the rest of the 
choir. 

Mr. Duren moved to Bangor in 1834 
and in 1836 he married Mary Clark 
Hyde of Portland. He became organist 
of the Hammond Street Congregation- 
al Church in Bangor, where he played 
for many years. He was deeply inter- 
ested in the Penobscot Musical Associ- 
ation and did as much as any other to 
assist it in maintaining the high stand- 
ard of music for which that society was 
justly celebrated. 

With the exception of three or four 
years spent in Portland, he lived there 
the whole of his life. Although stricken 
with total blindness late in life, his 
interest in the musical welfare of the 
community never subsided. He learned 
to use the typewriter, and at the age of 
ninety began studying and thoroughly 
mastered the Morse system, so that he 
was able to read as well as many who 
have been taught in the schools for 
the blind. So keen was his interest in 
music that he never missed a Bangor 
performance of the Maine Music Fes- 
tival, though when he attended the 
last one before his death he was in the 


one hundredth year of his age. 


Notwithstanding age and infirmity 
he walked from his house to the Ham- 
mond Street Church every Sunday, 
until he was ninety-nine years old. 
Then the Men’s Club made arrange- 
ments to provide an automobile which 
called for him each Sabbath until the 
time of his death. Had he lived two 
months longer he would have been 
one hundred and three years old. 

Among those not already mentioned 
who appeared as soloists at the sessions 
of the Penobscot Musical Association 
were Nellie Blaisdell, Frank L. Crow- 
ell, Miss E. M. Densmore, John De- 
lancy, Annie F. Drew, W. H. Gardner, 


ELNATHAN DUREN, SECRETARY OF THE PENOBSCOT 
MUSICAL ASSOCIATION THROUGHOUT THE THIRTY- 
SIX YEARS OF ITS EXISTENCE (1848-1884). FROM 
A PHOTOGRAPH MADE IN HIS ONE HUNDREDTH 


YEAR, AFTER HE HAD BECOME BLIND. 


William Holden, A. D. Harlowe, cor- 
netist, Mrs. W. F. Shaw, Jennie Sellers, 
G. V. Santford, flutist, J. Whitney, 
Dora Wiley and Mrs. E. T. Wasgatt. 

Of the Presidents of the Penobscot 
Musical Association, William H. Mills 
was elected for eight years; Rev. 
George B. Little, Hon. John E. God- 
frey and Rev. S. P. Fay, each for 
three years; Rev. A. K. P. Small, for 
eight years; Rev. Amory Battles, and 
Rev. A. M. Knapp, each for one year; 
Rev. S. Goodenough, Rev. G. W. Field 
and Rev. H. W. Bolton, each for two 
years; Rev. S. L. B. Speare served 
nearly two years. 

Of the Vice Presidents, S. K. How- 
ard, Joseph Forbes, Stephen Chase, 
were in office, each, two years; Au- 


116 MUSIC AND MUSICIANS OF MAINE 


gustus H. French, six years; William 
Arnold and T. G. Stickney, each one 
year; Zebulon S. Patten, ten’ years; 
George W. Merrill, eleven years. 

Of the Executive Committee or Trus- 
tees, the longest in office have been T. 
G. Stickney, Z. S. Patten, G. W. Mer- 
rill, J. A. Crowell and E. F. Duren, 

B. F. Baker was Director for nine 
years; J. B. Woodbury in 1850; N. D. 
Gould and G. W. Pratt in 1851; W. B. 
Bradbury, 1852, 1860; Dr. G. F. Root, 
1856, 1857, 1873, 1874; E. H. Frost, 
1850; Solon Wilder, with Prof, Brad- 
bury in 1860, and Mr. Wilder again in 
1865; Leonard Marshall, 1862; Luther 
O. Emerson, 1863, 1864, 1865; Carl 
Zerrhan and Dr. Root in 1869; L. H. 
Southard, 1866, 1867, 1870, 1871; 
Frederic S. Davenport, 1872; W. O. 
Perkins, 1875, 1876; Willard W. Davis, 
1877; J. Whitney, 1878; T. P. Ryder, 
1879; S. B. Whitney, 1880. 

Addresses were given by Directors 
B. F. Baker, J. B. Woodbury, N. D. 
Gould, L. O. Emerson, and L. H. 
Southard; and by Rev. George B. 
Little, in 1855; Rev. Nathaniel E. 
Cornwall, in 1856; Hon. John E. God- 
frey, in 1858-1859; Rev. A. K, P. 
Small, in 1861; Rev. E. W. Gilman, 
1862; Rev. Edwin Johnson, 1864; 
shorter addresses were given by Presi- 
dents Fay, Field and Speare and by 
Hon. Isaiah Stetson, Mayor of Bangor. 

In the first thirty-two years of its 
existence the society expended more 
than twenty-two thousand dollars in 
its efforts to give Bangor the best in 
Music. Fourteen thousand dollars was 
paid directors and vocal and instru- 
mental artists. 

Inquiry among the few prominent 
members of this old organization now 
living in Bangor does not reveal that 
the association ever disbanded but, on 
the contrary, it appears that it is still 
legally in existence. 


Perhaps the old musical society, like 
Rip Van Winkle, will some day awake, 
and then, may be, the people of East- 
ern Maine will be treated to a repro- 
duction of the old Music Conventions 
as their forbears knew them in the 
late forties. 

During this time other musical as- 
sociations of prominence in Eastern 
Maine were the North Penobscot Mu- 
sical Association and the Penobscot 
Valley Musical Association, both of 
which were conducted by Solon Wilder 
in 1862. | 

A Musical Convention which held a 
five-day session in Winterport in 1867 
was conducted by C. M. Wyman of 
Keene, N.H. Prominent singers “from 
abroad” included Charlotte Ginn, a 
Mr. Wardwell of Bucksport and L. 
Eames of Jackson. 

There were a number of County 
Conventions in existence in the late 
sixties but none met with wider success 
than did the Penobscot society. 


The Haydn Association of Portland 
1857 - 1896 

Before the outbreak of the Civil War 
the influence of American music teach- 
ers, who had studied with the best 
masters in Germany, began to make 
itself felt in a desire, among the more 
earnest students of vocal and instru- 
mental music, for a music culture of a 
deeper and more inspiring nature than 
could be obtained from the old choir 
books which were in vogue at the mu- 
sical conventions of that period. 

As the number of advanced music 
students increased, there came an ever 
widening gulf between the cultured 
ones and those whose elementary ap- 
preciation of music had been developed 
hardly beyond the extent of the so 
called popular pieces of the day and 
the simple exercises and easily learned 


MUSIC OF THE STATE OF MAINE— 1857-1896 


117 


tunes that they had been taught in the 
old singing schools. | 

This left the leaders in such a pre- 
dicament that they had to choose be- 
tween too few good singers to make a 
chorus or a greater number without the 
necessary ability to undertake the study 
of standard oratorios. 

There was a noticeable falling off in 
the attendance, and it soon remained, 
only, for the requiem of the music con- 
vention to be sung. 

With the growing tendency to follow 
the idealists in the study of the ever 
satisfying works of the great masters, 
Handel, Haydn, Beethoven and Mo- 
zart, and the forming of societies for 
the study of the oratorio, there began 
a marked improvement in music in the 
churches throughout the country, and 
a desire for opportunity to listen to the 
performance of classical music by the 
people of America. 

The Haydn Association of Portland 
was organized February 9, 1857. Fran- 
cis Blake, who was a book publisher 
and dealer, was its first President; and 
Albert P. Pennell, Sr., baggage-master 
on the P. S. and P. R. R., was its Vice 
President. George A. Churchill, who 
Was a commission merchant, was its 
first vocal director, and Samuel Thurs- 
ton, who was then a teacher of music, 
acted as second vocal conductor at that 
time. Charles P. Carlton, a piano 
maker, was its first Secretary and Par- 
menio W. Neal, collector of tolls on the 
old Portland Canal, was the Treasurer. 
George M. Howe, the daguerreotypist, 
John L. Shaw, a chaise trimmer, and 
Arthur L. Ilsley, a house carpenter, all 
excellent singers, constituted the in- 
vestigating committee. 

Immediately after its organization 
the Haydn Association began the study 
of sacred music of a classical nature. 

In October, 1857, the Haydn Asso- 


ciation presented Haydn’s oratorio 


“Creation” and Neukomm’s “David” 
at the Chestnut Street Methodist 
Church on two consecutive evenings. 
At these George A. Churchill conduct- 
ed and Hermann Kotzschmar was the 
organist. They were supported by an 
orchestra of Portland and Boston mu- 
sicians. The soloists were Harriet N. 
Cammett, Samuel Thurston, John L. 
Shaw and Myron W. Whitney. 

On Christmas night, 1857, “The Mes- 
siah” was produced at the Chestnut 
Street M. E. Church with John 
Knowles Paine at the organ. So suc- 
cessful was this concert that on New 
Year’s day a repetition of this oratorio 
was given by the society. 

The Haydn Association began the 
New Year (1860) with its second ‘con- 
cert of the season, when it presented 
“The Messiah” at the High Street 
Church on January twentieth. This 
was the last concert to be given by the 
society until after the Civil War was 
brought to a close. 

On March 7, 1869, the society was 
virtually re-organized, with Marshall 
N. Rich as President and Hermann 
Kotzschmar as conductor, and from 
then on its history was one series of 
remarkable achievements. 

Not long after its re-organization an 


announcement stating the objects of 
the society appeared. | 
“Objects, individual improvement 


and raising the standard of public taste 
in sacred music. The association has 
convenient quarters in Fluent’s Hall 
and meets every Wednesday evening. 
The number of members at the time 
of the annual meeting was three hun- 
dred and three, the average attendance 
at rehearsals has been one hundred and 
fifty. The association has a valuable 
collection of oratorio and other music.” 

The library of the Association was 
probably the best of its kind in the 
State and, in 1872, contained, among 


118 MUSIC AND MUSICIANS OF MAINE 


FRANCIS BLAKE, FIRST PRESIDENT OF THE HAYDN 
ASSOCIATION OF PORTLAND (1857). FROM A MIN- 
IATURE IN A LOCKET WORN BY HIS DAUGHTER, 
CORNELIA SHAW BLAKE, AND LOANED BY HER. 


others, the following works, all of 
which were performed in public by the 
association: The Oratorios of “David,” 
“Saul,” “‘Creation,’ “St 2 aul ssa me 


Messiah,” “Judas Maccabeus” and 
“Samson” (from thirty to one hun- 


dred complete parts or scores of each). — 


Other numbers in their library were: 
“Dettingen Te Deum,” Haydn’s “Mass, 
B flat, No. 1,” “Stabat Mater,” Bach’s 
“Passion Music” (concluding chorus), 
“Harmony of the Spheres,” “The Pow- 
er of Song,” “The Lord is My Shep- 
herd,” Schubert, “Requiem of Heroes,” 
Kotzschmar, “Merry Christmas Bells,” 
Kotzschmar, “Barcarole,”’ Kotzschmar, 
Haydn’s “Third Mass, in D flat,” “Ave 
Maria,” “Spring Greeting,” Mozart’s 
“Requiem,” “Sixty-seventh Psalm,” 
selections from the Boston Peace “Ju- 


bilee Music” and full copies of the “Ju- 
bilee Music.” 

A large number of the members of 
the Portland Sacred Music Society be- 
came members of the Haydn Associa- 
tion. To Ira Berry and Joshua Weeks 
belong the unique distinction of having 
been successively members of the Bee- 
thoven Musical Society, The Portland 
Sacred Music Society and the Haydn 
Association —three societies, the ex- 
istence of which covered a period of 
nearly eighty years. 

The following is a list of Presidents 
of the Haydn Association, as nearly as 
can be ascertained, from the day of its 
organization to the date of its close: 
Francis Blake, 1857; Albert P. Pennell, 
1858 and 1859; Thomas F. Tolman, 
1866 and 1867; Marchall N. Rich, 
1869; Abiel M. Smith, 1871 and 1879; 
Samuel Thurston, 1872; John B. Coyle, 
Jr., 1873 to 1883, and 1897; William 
FE. Gould, 1884 to 1886; Jerome Rum- 
ery, 1887 and 1888; Harry L. Hough- 
ton, 1889 to 1891; Frederick A. Tomp- 
son, 1892; Dr. Harry M. Nickerson, 
1893; George F. French, 1894 to 1896; 
James F. Macy, 1898. 

Francis Blake, the first President of 
the Haydn Association, was a man 
much beloved by all who knew him. 
He was born in Otisfield, but most of 
his boyhood was spent in Harrison, to 
which town his parents moved when he 
was a child. He was in the book busi- 
ness in Portland for many years and 
was twice elected to the City Council. 
Mr. Blake had a wonderfully pure 
voice, and music was almost a passion 
with him. 

In the story of the Girls’ High School 
in Portland is found this brief refer- 


ence to Mr. Blake: “We always had a 


piano and it was always paid for by 
somebody. Girls who could play or 
sing were encouraged to perform for 
Our amusement on Wednesday and 


———- 


a 


0 a ee RS ea, on 


: 


MUSIC OF THE STATE OF MAINE— 1857-1896 


Saturday. We sang at morning devo- 
tions from the ‘Songs of Zion’ and 
sometimes again in the November twi- 
light. Between 1857 and 1859, Mr. 
Francis Blake came in a number of 
times at Mr. Woolson’s request, and, 
without pay, drilled us in singing these 
tunes in good time and with expres- 


forty-three was a sad circumstance. He 
was stricken with tuberculosis in the 
very prime of his life. It is related of 
him that, when he was informed that 
he had not long to live and that he 
would soon be in another world, he ex- 
claimed, “Then, Oh! how I shall sing!” 

Mrs. Francis Blake, née Cornelia 
Elizabeth Shaw, was also a talented 
musician. When eighteen years old she 
went to Boston to study the church or- 
gan that she might be able to play in 
the little church at Harrison where Mr. 
Blake led the choir. 

Among the other officers of the 
Haydn Association were: 

Vice Presidents, Albert P. Pennell, 
1857 to 1859; M. N. Rich, 1871 and 
1872; Samuel Thurston, 1877; G. B. 
Buzzell, 1879; George C. Burgess, 1881 
to 1883; Harry L. Houghton, 1884 and 
1885; Jerome Rumery, 1886; C. F. 
Swett, 1887; Frederick A. Tompson, 
1888 to 1891; Harry M. Nickerson, 
1892; Dr. N. M. Marshall, 1893; Wil- 
liam T. Pierce, 1894 to 1896; James 
F. Macy, 1897; Jabez True, 1898. 

Secretaries, Charles P. Carlton, 1858 
and 1859; Frank H. Cloyes, 1871 to 
1875, and 1881 to 1895; George C. 
Burgess, 1877 and 1879; Sterling T. 
Dow, 1896 to 1898. 

Treasurers, Parmenio W. Neal, 1858, 
and 1859 to 1871, and 1872; Frank 
Noyes, 1873 to 1875, and 1877; Ed- 
ward A. Noyes, 1879, and 1881 to 
1883; Frederic C. Cushing, 1884 to 
1887; Clinton Tewksbury, 1888 to 


119 


1893; George H. Buxton, 1894 to 1898. 

Librarians, Charles Staples, 1858 and 
1859; Henry H. Lowell, 1872; William 
D. Thompson (Asst.), 1872; S. C. 
Fernald (Asst.), 1872; William P. Jor- 
dan, 1877 and 1879, and 1881 to 1887; 
Irving Lowell (Asst.), 1885; Harry F. 
Merrill (Asst.), 1885; Fred E. East- 
man, 1888 and 1889; George H. Bux- 
ton, 1890; Harry M. Nickerson, 1891; 
Herbert W. Barnard, Jr., 1892 to 1895; 
Chester W. Doten, 1896; Marshall Da- 
vis, 1897 and 1898. 

First Vocal Conductors, George A. 
Churchill, 1857 to 1859; Hermann 
Kotzschmar, 1869, and 1871 to 1875, 
and 1877-1879, and 1881 to 1898. 

Second Vocal Conductors, Samuel 
Thurston, 1858, and 1859 to 1871, and 
1873; John L. Shaw, 1872 and 1877; 
Albert P. Pennell, 1881 to 1886; J. B. 
Coyle, 1886 to 1889; Harvey Murray, 
1889 to 1893. 

Pianists, Mrs. A. M. Smith (Lizzie 
Dyer), 1871; Mrs. George O. Gosse, 
1872 and 1873; Lucy Blanchard, 1875 
and 1877; Fannie E. Jordan, 1879, and 
1881 to 1883; Harvey Murray, 1884 to 
1893; Minnie Plummer, 1894 to 1897; 
Charles Latham True, 1898. 

Among the Councillors were Mrs. 
William Allen, Mrs. Clara Blanchard, 
John O. Burke, Mrs. John W. Bowers, 
John B. Coyle, Jr., Mrs. John B. Coyle, 
Jr., Frederic C. Cushing, Charles P. 
Carlton, Marshall Davis, Sterling T. 
Dow, Mrs. H. L. Damon, Mrs. O. H. 
Fellows, John T. Fagan, Mrs. Alice C. 
Frazier, R. Greeley, Mrs. George O. 
Gosse, Mrs. Lewis A. Goudy, George 
M. Howe, J. Hall, Harry L. Houghton, 


Martha F. B. Hawes, Arthur L. Ilsley, 


A. W. Jordan, Mrs. Hermann Kotzsch- 
mar, Henry H. Lowell, S. H. Libby, 
Harriet Lewis, Arthur W. Laughlin, A. 
S. Megquier, Harry F. Merrill, James 
F. Macy, Frank Noyes, John E. Noyes, 
Mrs. John E. Noyes, William T. Pierce, 


120 


Frank H. Pierce, A. D. Pierce, Charles 
G. Richards, Jerome Rumery, Henri- 
etta D. Rice, John L. Shaw, William 
D. Thompson, George A. Thomas, 
Clinton Tewksbury, Harry Turner, Ja- 
bez True, Carl F. A. Weber, J. M. 
Watts, John P. Welch, Albert S. Wood- 
man and Mrs. H. N. Wetherbee. 

Some of the larger works undertaken 
by the Haydn Association, besides 
those heretofore noted, were Handel’s 
“Theodora,” Randeggar’s “Fridolin” 
(first time in America), Mendelssohn’s 
“Elijah,” Mendelssohn’s “St. Paul,” 
Handel’s ‘Samson,’ Mendelssohn’s 
“Hymn of Praise,” Spohr’s “The Fall 
of Babylon,” Gounod’s “Third Mass,” 
Handel’s “Jephtha,” Cowan’s “Ruth,” 
Barnby’s “Rebekah,” Spohr’s “The 
Last Judgment” and Dudley Buck’s 
“The Light of Asia.” Some of the 
more familiar oratorios were repeated 
over and over. 

The soloists for the Haydn concerts 
were selected largely from among those 
who were considered the best singers 
in Portland and other Maine cities. 
Among those who sang leading roles 
and appeared as soloists at the Haydn 
Association concerts, were Mrs. Charles 
Norcross, Mrs. Annie Greeley, Mrs. 
Nettie Fellows (née Milliken), Mrs. 
Lewis A. Goudy, Mrs. Jennie King 
Morrison, Mrs. Warren P. Chase, 
Mrs. Helen Allen (née Paine), Mrs. 
Fred T. Flint, Mrs. H. L. Baker, Mrs. 
Warren W. Cole, Mrs. S. E. Thomp- 
son, Mrs. H. L: Damon, Mrs. Lizzie 
N. Sawyer, Mrs. George O. Gosse, 
Fannie M. Chandler (Mrs. Fannie C. 
Hawes), Mabel Bates Burnham, Ella 
Lewis, Alice Brown, Hattie Weeks, 
Alice B. Blanchard, Margaret A. Bry- 
ant, Jessie F. Grant, Frances Dodwell, 
Nellie A. Eveleth, Ada B. Kennard, 
Belle Bartlett, Nellie E. Webster, Susie 
D. Dryden, John B. Coyle, Jr., Wil- 


MUSIC AND MUSICIANS OF MAINE 


liam H. Stockbridge, William S. Beck- 
ett, H. C. Nichols, S. D. Cushing, A. 
E.. Pennell, George C. Burgess, George 
H. Buxton, Frank H. Cloyes, Herbert 
W. Barnard, Jr., Harry F. Merrill, 
Albert B. Hall, T. J. Adams, James 
Watts, Charles M. Follansbee, Wallace 
King, T. J. Somers, Lon fo ssrine 
George J. Parker, C. M. Pratt, Fred 
V. Chase, and Harry T. Harmon. 

On the evening of June 3, 1873, the 
Haydn Association, with a chorus of 
one hundred and twenty-five, per- 
formed in the City Hall of Portland a 
musical work of such classic merit that 
it placed it for the time being in the 
forefront of all the musical societies in 
the country, for not only was it the 
first presentation in the United States 
of America of a sacred oratorio by an 
American composer and the first ora- 
torio to be written on American soil, 
but the work itself was the greatest 
musical composition by an American 
up to that time. 

One can get an idea of how really 
great this work was, and of the supe- 
rior manner in which it was produced 
by a Portland chorus which had been 
conscienciously trained under Hermann 
Kotzschmar, and was personally di- 
rected by the composer, only by read- 
ing some of the accounts in the jour- 
nals or magazines of the day. A brief 
excerpt from an extended notice, which 
was published in the Atlantic Monthly 
in August, 1873, in which it will be 
seen that the chorus earned for itself 
the highest enconiums of the critics, is 
reproduced here: 

“The pleasant little town of Portland 
has reason to congratulate itself, first, 
on being the birthplace of such a com- 
poser as Mr. Paine; secondly, on hav- 
ing been the place where the first great 
work of America in the domain of mu- 
sic was brought out; and thirdly, on 
possessing what is probably the most 


a a a er 


va as ——a ee CU 


MUSIC OF THE STATE OF MAINE-— 1857-1896 121 


BIRTHPLACE OF JOHN KNOWLES PAINE, GREAT AMERICAN COMPOSER (BORN 1839, PORTLAND, MAINE). 
FROM A PHOTOGRAPH MADE IN 1925 UNDER THE PERSONAL DIRECTION OF THE AUTHOR. 


thoroughly disciplined choral society in 
this country. More artistic chorus- 
singing it has never been our lot to 
hear. Our New York friends, after 
their recent experiences, will perhaps 
be slow to believe us when we say that 
the Portland choir sang this new work 
even better than the Handel and Haydn 
Society sing the old and familiar Ehi- 
jah; but it is true. In their command 
of the pianissimo and the gradual cre- 
scendo, and in the precision of their at- 
tack, the Portland singers can easily 
teach the Handel and Haydn a quar- 
ter’s lesson.” 

The soloists at this performance of 
“St. Peter” were Adelaide Phillips, con- 
tralto, George L. Osgood, tenor, and 
J. F. Rudolphson, basso, all Boston 
singers and Mrs. H. N. Wetherbee, a 
member of the Haydn Association of 


Portland, soprano. Mrs. George O. 
Gosse was pianist and the accompani- 
ments to the chorus were played by the 
Harvard Orchestra of Boston. It was 
an epoch-making event in American 
musical history. 


John Knowles Paine 


Upon the staff the old composer wrote 

First one and then another lifeless note; 

A youth, who at the organ sat, one day, 
Brought forth the script and then began to play; 
The organ answered to his magic touch, I own, 
And for each lifeless note, sent forth a living tone. 


America has produced many native 
born composers during its more than 
one hundred and fifty years of inde- 
pendence, but none who has brought 
more glory to his country, or to his na- 
tive state, than John Knowles Paine. 
It is, indeed, strange that the world’s 


122 MUSIC AND MUSICIANS OF MAINE 


best loved and most widely read poet 
(excepting only the immortal Shake- 
speare), Henry Wadsworth Longfel- 
low; one of America’s most famous 
sculptors, Franklin Simmons; and her 
greatest composer of his day, John 
Knowles Paine—three of America’s 
greatest creative geniuses of the nine- 
teenth century—should have been born 
in that farthest east corner of the 
United States, known at the “State of 
Maine.” 

When one can produce an oratorio 
of such overpowering beauty that the 
performance of it is pronounced by 
critics of national repute as being “the 
outstanding musical event in America 
for the season;” or, when the unchal- 
lenged statement is made that “no 
American, hitherto, has shown either 
the genius or the culture requisite for 
writing music in the grand style,” is he 
not one worthy of a place in the major 
histories of his native state; and of 
having his principal works produced 
annually by the great choral and or- 
chestral societies of the commonwealth; 
and one, the site of whose birthplace 
should be marked with an enduring 
tablet that future generations may 
learn that here was born one of the 
most gifted musicians America has 
produced. 

John Knowles Paine was born into a 
musical family. His grandfather, John 
K. H. Paine (1787-1835), built one of 
the first church organs to be made in 
Maine. This instrument which was 
constructed at the Paine homestead on 
the shores of Watchic Pond, in the 
town of Standish, was used in the old 
Baptist Church on Temple Street, 
Portland, until it was destroyed by the 
great fire of 1866. His father, Jacob 
S. Paine (1810-1856), was said to have 
been the organizer and was, for some 
years, the director of the first band in 
Portland. 


The Paine family, to which John K. 
Paine belonged, was a branch of the 
original Paine family of whom there 
were five brothers, John, Myrick, Jo- 
seph, Richard and Uriah Paine who 
settled on Cape Cod. 

John K. H. Paine came to Maine be- 
fore it became a state and settled in 
the town of Standish, about two and a 
half miles from what is now Standish 
Village, and five and a half miles from 
Sebago Lake Station. The locality in 
which he settled has ever since been 
known as the Paine neighborhood. 

From here the family moved to 
Portland sometime previous to 1831, 
where Mr. Paine continued the manu- 
facture of organs and his son Jacob 
opened a music store. 

David Paine, the brother of Jacob 
S. Paine, became an instructor of mu- 
sic in Portland, where he was located 
in a room over Winship and Paine’s 
store. 

The family of Jacob Small and Re- 
becca Beebe (Downes) Paine consisted 
of five children, Helen M., the oldest, 
born in 1834, who became a very excel- 
lent vocalist, sang contralto with the 
Haydn Association, was a member of 
the Old St. Stephen’s, Old Universalist 
and Old Second Parish Church choirs 
in Portland, as well as one of the earli- 
est members of the Portland Rossini 
Club, and who, while studying under 
F. Nichols Crouch, Madame Ostinelli 
and Hermann Kotschmar, became an 
accomplished pianist and taught both 
voice and piano in Portland; Anne Re- 
becca, who was born in 1840; Alma 
Georgiana, who was born in 1842 and 
died at the early age of seven years; 
Addie, who was born in 1848; and John 
Knowles Paine, who first saw the light 
of day in a two and one-half story 
house on Oxford Street in Portland on 
January ninth, 1839. 

As a boy, John Knowles Paine at- 


a. lL Cl ee 


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MUSIC OF THE STATE OF MAINE-— 1857-1896 


tended the schools of Portland, and 
early began his musical studies under 
Hermann Kotzschmar with whom he 
gained a thorough grounding at the 
piano, in harmony, and especially at 
the organ. At the age of sixteen he 
wrote a composition for a string quar- 
tette and when eighteen years old 
made his first public appearance (June 
25, 1857) as an organist, “acquitting 
himself with great credit.” 

On Christmas night, in ‘hat same 
year, on the occasion of the presenta- 
tion of Handel’s “Messiah” by the 
Haydn Association in Portland, he was 
entrusted with the complete accom- 
paniments upon the organ, without or- 
chestral assistance. Soon after three 
subscription concerts were given by J. 
K. Paine “to enable him to complete 
his musical education in Germany.” 

At the first of these, which was given 
in Deering Hall, he was assisted by 
Carl Gartner, solo violinist, Henri M. 


_ Jungnickel, solo violoncellist, the Or- 


chestral Union, Hermann Kotschmar, 
conductor, and ‘the Haydn Association, 
George A. Churchill, conductor. Others 
assisting at the two succeeding con- 
certs were Harriet Cammett, Mrs. Hel- 
en Paine Allen, Samuel Thurston, John 
L. Shaw, Jennie Twitchell, Heinrich 
-Kehrbahn, “the renowned trumpet sol- 
dier,” and ‘Carl Krebs, clarinetist. 

Mr. Paine gave a farewell organ con- 
cert in September, 1858, and that year 
found him in Berlin studying at the 
Hochschule for Musik. He spent three 
years under the tutelage of August 
Haupt, then one of the greatest of or- 
ganists, and Wieprecht and Teschner, 
masters in the art of composition. In 
Berlin, and other cities of the German 
Empire, during his student years, he 
appeared frequently as an organ vir- 
tuoso. On his return to America, in 
1861, Mr. Paine became the leading 
organist in the United States. ‘The 


123 


JOHN KNOWLES PAINE, AT THE TIME OF HIS FIRST 
PUBLIC APPEARANCE AS AN ORGANIST (1857). 
FROM A DAGUERREOTYPE. 


magnificent F. Walcker & Sons’ organ 
which had been imported from Lud- 
wigsburg, Germany (1860), at a cost 
of seventy thousand dollars and set up 
in Music Hall, Boston, had been pur- 
chased largely on account of his en- 
thusiasm, while he was yet in Ger- 
many. 

Thousands went to hear him play on 
the great instrument and listen to his 
interpretations of the works of the 
great composers. At these recitals he 
took the opportunity to introduce com- 
positions of Bach and Thiele which had 
never before been produced in America. 

It is said that he was the best ex- 
ponent of legitimate organ playing in 
Boston at that time, and that “the taste 
for organ music according to the stand- 
ards of the German School then began 


JOHN KNOWLES PAINE, AT THE TIME OF HIS FARE- 
WELL ORGAN RECITAL IN PORTLAND (1858) BE- 
FORE GOING ABROAD TO STUDY. FROM A PASTEL 
LOANED BY MRS. JOHN W. BOWERS. 


to form itself.” His early recitals are 
acknowledged by musicians throughout 
the United States to have had a great 
influence on American music, an in- 
fluence which has continued even to 
this day. 

In 1861 he was organist in the West 
Church of Boston, but in 1862 he re- 
signed to take the position as director 
of music at Harvard, an opportunity, 
which, at first, meant simply that he 
had become college organist and chapel 
master. He then began preparation for 
the Harvard Musical Course, which, up 
to 1869, amounted to little more than 
private instruction, and gave, without 
remuneration, a series of lectures on 
the musical forms. 

There was some delay in granting 
permission to establish a musical course 


MUSIC AND MUSICIANS OF MAINE 


in the University, and, because at first 
the course did not count toward a de- 
gree, so few attended the lectures that 
the innovation was soon abandoned 
and was not again resumed until 1870, 
when Dr. Eliot was in the presidential 
chair. In this year Mr. Paine delivered 
twenty lectures on musical history, and 
in 1872 he introduced harmony and 
counterpoint as a part of the curricu- 
lum of the University. Mr. Paine was 
made assistant Professor of Music in 
1873. He sustained himself so admi- 
rably, and by his efforts, demonstrated 
the value of music as a form of art so 
successfully, that in 1875 the chair of 
full professorship was created for him. 
This is said to have been the first chair 
of music to be established in an Amer- 
ican University. 

Mr. Paine made an artistic tour of 
Germany in 1866 and 1867, and while 
in Berlin, in 1867, he directed “A Mass 
in D,” his first great work, before a 
large audience at the Sing-Academie, 
in Berlin, a notable event in the history 
of American music. At this perform- 
ance several members of the Royal 
family were present —in those days an 
honor to be greatly coveted. 

In this composition Mr. Paine ex- 
hibited a masterly command of the re- 
sources of fugue and counterpoint as 
well as great structural ability. The 
continental critics complimented the 
young American composer highly upon 
the exhibition of his attainments, but 
declared that the work lacked poetic 
originality. 

When about thirty years of age Mr. 
Paine married Mary Elizabeth Greeley, 
a cultured lady of Boston, and a daugh- 
ter of William E. Greeley, formerly a 
merchant of Portland, in which city 
she was born. 

In 1873 came the production of Mr. 
Paine’s first great work, “The Oratorio 
of St. Peter,” which received its pre- 


MUSIC OF THE STATE OF MAINE— 1857-1896 


miere in his native town, and created 
such a furor, in musical circles through- 
out the country, that he became famous 
over night. 

Of it, John Fiske, the celebrated his- 
torian, essayist and critic, wrote in 
part: 

“For music-lovers in America the 
great event of the season has been the 
performance of Mr. Paine’s oratorio, 
‘St. Peter, at Portland, June third. 
This event is important, not only as 
the first appearance of an American 
oratorio, but also as the first direct 
proof we have had of the existence of 
creative musical genius in this coun- 
try... . With the exception of Mr. 
Paine, we know of no American hither- 
to who has shown either the genius or 
the culture requisite for writing music 
in the grand style. ... It must at 
least be said, as the net result of our 
impressions derived from the perform- 
ance at Portland, that Mr. Paine’s ora- 
torio has fairly earned for itself the 
right to be judged by the same high 
standard which we apply tothese noble 
works of Mendelssohn and Handel. 

“The overture, beginning with an 
adagio movement in B- flat minor, gives 
expression to the vague yearnings of 
that time of doubt and hesitancy when 
the oracles were dumb, and the dawn- 
ing of a new era of stronger and diviner 
faith was a matter of presentiment 
rather than a definite hope or expec- 
tation.” 

The chorus, “And believe the glad 
tidings of God,” is declared to be a 
masterpiece of contrapuntal writing, 
and, when produced by a chorus of 
three hundred or more voices, is al- 
most Overpowering in its effect. The 
F-minor chorus, “We hid our faces 
from Him,” is truly beautiful, while, 
“He was brought as a lamb to the 
slaughter,” is magnificent in its har- 
monic progressions. “Awake thou that 


PAINE S < JRA TOR TO 


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Mr. GEO, L ‘osaoon, ‘Tenor. 


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_ HARVARD PBCHEST A’ of Boston. 


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MR. t F RUD OLEMSEN, 2 Basso. _ 
| Mrs. GEO. O. GOSsE, Pianist. P 


HERMAN KOTZSCHMAR, os 


A REDUCED FACSIMILE OF THE TITLE-PAGE OF THE 
PROGRAM USED ON THE OCCASION OF THE PRE- 
MIERE OF JOHN KNOWLES PAINE’S “ST. PETER,” 
THE FIRST ORATORIO BY AN AMERICAN COMPOSER 
TO BE PERFORMED IN THE COUNTRY. 


sleepest,” is especially strong and rich 
in its instrumentation and contains 
some of the best writing in the work. 
The deeply pathetic opening chorus of 
the second part, “The Son of Man was 
delivered into the hands of sinful men,’ 
is followed by a joyous allegro, “And 
on the third day He rose again.” 

Mr. Fiske describes. the quartette, 
“Feed the flock of God,” as having “all 
the heavenly sweetness of Handel’s ‘He 
shall feed His flock.’” This choral, as 
also the one which follows the scene of 
Pentecost, is taken from the Lutheran 
Choral Book and arranged with orig- 


126 MUSIC AND MUSICIANS OF MAINE 


THE OLD CITY HALL IN PORTLAND IN WHICH WAS SUNG, FOR THE FIRST TIME IN THE UNITED STATES, 
AN ORATORIO BY AN AMERICAN COMPOSER (1873). FROM A PHOTOGRAPH LOANED BY THE CITY 


CLERK’S OFFICE, PORTLAND. 


inal harmony and instrumentation as 
in oratorios by other great masters. 
Following the lovely contralto aria, “As 
for man, his days are as grass,” is a 
stirring chorus in D-major, “This is the 
witness of God.” “Praise to the Father” 
may be said to be the beginning of the 
epilogue which culminates in a lyric 
outburst of thanksgiving. by the twelve 
disciples and the full chorus, ““Now as 
ye were redeemed,” the whole conclud- 
ing in a grand final chorus in C-major, 
“Great and marvellous are Thy works, 
Lord, God Almighty.” 

Mr. Paine’s next great work was his 
first symphony in C minor. This is 


known as “Opus 23” and was played 
by Theodore Thomas’ Orchestra in 
Boston in January, 1876, for the first 
time, when it proved another great tri- 
umph for the composer. Mr. Thomas 
kept this number in his repertoire for 
a number of seasons and his orchestra 
played it many times. 

Mr. Paine was one of the two Amer- 
icans who were invited to write a com- 
position for the Centennial Celebration 
in Philadelphia in 1876. Dudley Buck 
was the other. Both contributed nota- 
ble performances to the opening exer- 
cises. Paine’s “Centennial Hymn” set 
to John Greenleaf Whittier’s verses 


MUSIC OF THE STATE OF MAINE— 1857-1896 


127 


was especially interesting because of 
the fact that the great Wagner had 


written a “Centennial March” for this 


occasion, but Wagner’s composition was 
not accorded the favorable reception 
that was given Paine’s Hymn by the 
critics. Another important composition 
produced this year was his overture, 
“As You Like It.” 

The first important American com- 
position to be performed at the Boston 
Symphony Concerts by Gericke was 
Professor Paine’s “Symphony-Fanta- 
sia.” This composition, which was 
based on Shakespeare’s play, “The 
Tempest,” has been given many times 
at the Boston Symphony concerts since 
its first presentation in 1877, as well as 
in many other cities throughout thé 
country. 

The Symphony-Fantasia was fol- 
lowed by his “Larghetto and Scherzo” 
for piano, violin and violoncello (1877), 
and his “Duo Concertante” for violin, 
violoncello and orchestra in 1878. 

In 1880 Mr. Paine composed his Sec- 
ond Symphony in A entitled, “Spring 
Symphony Opus 34,” a work, which, 
as the Harvard Magazine declares, ‘ ‘to- 
day holds the freshness and continuity 
of interest, the expressive beauty of its 


melodic themes, the warmth and deli- 


ee ee ee ee Tw 


cacy of the harmonies ,— especially the 
nobility and power of the climax. This 
is considered a much greater composi- 
tion than his first ‘Symphony in C. mi- 
nor.” His work had already begun to 
show a greater depth and a larger de- 
gree of poetic originality and imagina- 
tion. Some of his earlier critics had 
been disposed to think that he was 
mastered by the rules of music and that 
his compositions were somewhat stilted, 
but if he had ever been mastered by 
the rules of theory and composition, he 
was now the master of them all. 

The four divisions of the “Spring 
Symphony” are “Nature’s Awakening,” 


JOHN KNOWLES PAINE, AT THE TIME OF THE PRO- 
DUCTION OF HIS ORATORIO “ST. PETER” (1873). 


“May Night Fantasy,” “A Promise of 
Spring” and “The Glory of Nature.” 

Preceding the motif, ‘“Nature’s 
Awakening,” is a prelude containing 
the “Winter Motif” which typifies the 
period of numbing cold and hyperbo- 
rean winds to which the North is an- 
nually subjected—a period with which 
the composer, as a Maine boy, was 
not unfamiliar. 

In this motif nature, gradually awak- 
ening, first tremulously, and then a lit- 
tle more boldly, looks about. After a 
pause there is a movement of the vio- 
lins which is not unlike the fluttering 
of the wings of birds returning from 
the Southland. The approach of spring 
is announced by a melody that may be 
interpreted as the song that issues from 


128 MUSIC AND MUSICIANS OF MAINE 


—<—<—<—<$<$<$<—$——————— a 


the throat of the first robin of the sea- 
son. The theme is repeated cheerily by 
the cellos and violins, and soon spring, 
rampant in its surrender to the impul- 
es of nature, seems to have become 
victorious in its conquest of winter. 

The oboes introduce the next move- 
ment which is played against the win- 
ter motif in another unsuccessful effort 
to subdue it. In the receding of a semi- 
climax of joyful abandon which fol- 
lows, there is an opportunity for the 
return of the spring motif, but this 
time it is a tearful spring, in minor key 
portrayed in a masterful and scholarly 
manner by the composer. Again the 
bird wings flutter and at last spring, 
exultant, rejoices in an exuberance that 
seems Heaven inspired. 

The “May Night Fantasy,” in scher- 
zo form, is not unlike a humoresque 
which is suggestive of wood imps and 
elves and is reminiscent of the croak- 
ing of frogs, in which the simile is 
heightened by the mournful ululations 
of a lone bassoon. 

In the “Romance,” which is in ron- 
do form, these themes and the inter- 
mezzo are deftly woven together and 
this ends in a “Recollection,” sugges- 
tive of sweetest remembrance. 

“The Finale” is in sonata style with- 
out introduction, and, as elaborated, 
depicts a frenzied struggle, terminating 
in a coda which is almost marvellous 
in its effectiveness. 

Louis C. Elson, author and music 
critic, declares that it “is a glorious 
outburst of thanksgiving almost com- 
parable with the finale of that other 
tribute to Spring, the great B flat Sym- 
phony by Schumann.” 

But an even greater work, by this 
now illustrious composer, was yet to 
appear — one that was to be acclaimed 
by the critics as an American composi- 
tion which not only equalled but ex- 


writings. This was his music for So- 
phocles’? “Oedipus Tyrannus” which 
was arranged especially for the per- 
formance by students of Harvard Uni- 
versity in 1881, a prodigiously ambi- 
tious effort when one stops to consider 
that modern critics have been unani- 
mous in placing this poetical work, 
whose lyrics are not surpassed by any 
in the Greek language, at the very apex 
of Greek tragic art, and that any fail- 
ure of the musical setting to measure 
up to the dignity and pathos of this 
literary achievement would have been 
disastrous. | 

The work, the production of which 
was more than seven months in prepa- 
ration, consists of an overture and 


‘seven choruses and semi-choruses for 


male voices with spoken parts of the 
play interspersed between the choral 
numbers. As performed the strophes 
were sung by a dramatic chorus of fif- 
teen voices and the anti-strophes by the 
dramatic chorus and a supplementary 
chorus of sixty voices, composed of 
members of the Harvard Glee Club. 
The orchestra consisted of forty per- 
formers. 

One can scarcely conceive a more re- 
volting yet more intensely fascinating 
story than that of Oedipus Tyrannus, 
and Mr. Paine’s musical setting to this 
masterpiece of Greek literature seems 
to fit its every turn. 

The prelude to Oedipus which, for 
some considerable portion of it, is in 
Grave, Maestoso and Adagio move- 
ments, though it contains some con 
fuoco passages, is a magnificent and 
elaborate piece of musical composition. 

In Scene 1, Thebes, having become 
wasted by a pestilence, a body of 
Thebans of all ages, by the mouth of 
their priest who acts as their spokes- 
man, come as suppliants before the 
royal palace to beg the king to endeav- 


celled European settings of classical or to help them. The Chorus enter 


MUSIC OF THE STATE OF MAINE — 1857-1896 129 


SCENE FROM “OEDIPUS TYRANNUS (1881) FROM “THE HARVARD GREEK PLAY,” BY COURTESY OF THE 
AUTHOR, RIGHT HON. SIR HENRY NORMAN, M.P., OF LONDON, ENGLAND. 


with prayer to Apollo and Athene for 
aid; and their sufferings, which they 
believe are caused by the unavenged 
murder of Laius, their King, are de- 
scribed in the first chorus. In the sec- 
ond chorus, the music of which is weird 
and indicative of horror and anxious 
doubt, as Oedipus, their new King, is 
accused by blind Teiresias, the theme 
is descriptive of the pursuit of the mur- 
derer of King Laius by “the dreadful 
fates unerring.” ‘The allegro con fuoco 
movements are bewildering in their 
frightfulness but the movement pro- 
ceeds into an arioso which, somewhat 
Italian in style, is expressive of hope 
and the last few adagioespressivo bars, 
symbolizing the confidence reposed in 
Oedipus, are altogether exquisite. 

The music for Scene 3, in which the 
quarrel between Oedipus and Creon 
occurs, is set forth in the third chorus, 
which opens with a Kommos, or pas- 
sage in which the song of the chorus 
alternates with the spoken words of 
the principal characters, and is fol- 
lowed by an effective semi-climax, 
twice occurring, made up of a progres- 
sion of nine ascending notes, the first 
six of which are in the order of the 
diatonic scale, the diminished seventh 


becoming the antepenultima of the 
figure which concludes with an aug- 
mented seventh and the octave note, 
and this ends in a melodious phrase 
sung by Jocasta, the Queen. 

The choral ode in Scene 4, beginning 
with a prayer, and, with purity of life 
and reverence of thought and- speech 
for its theme, is one of rare beauty. 

Jocasta tries to convince Oedipus 
that no faith should be placed in divi- 
nation. The chorus feel that her words 
are impious and in the second strophe 
become righteously indignant. 

In Scene 5, the chorus speculate on 
some divine origin of their king, who 
had been found as a babe on a moun- 
tain. These speculations are rather fan- 
ciful and seem designed to relieve some- 
what the feelings of the audience which 
at this point are of high tensity and are 
a diverting contrast to the tragedy 
which is about to be enacted. 

In Scene 6, when the slave arrives 
and reluctantly tells Oedipus the story 
of his exposure, thus convincing him 
that he was the son of Laius and that 
he had really fulfilled the dreaded or- 
acle of Apollo, Mr. Paine’s work reach- 
es such heights of musical mastery 
that no praise could be too great. 


130 MUSIC AND MUSICIANS OF MAINE 


In the opening strains there is a be- 
wailing of the changes of fortunes of 
the Thebans. The emotions of the 
scene are wonderfully interpreted. 

_ The music for this chorus, illustrative 

of the misery which overtakes Oedi- 
pus when his guilt, which had been un- 
known to himself, has been divulged, 
has been described as “‘an outburst of 
sheer genius, overpowering, frighten- 
ing,’ a wild tumult, as of a havoc 
wrought soul and a heart broken with 
anguish, which finally subsides to a 
tremolo pianissimo. 

The theme of the Postlude, in Grave 
and Maestoso, as Oedipus comes forth 
blinded by his own hand, is that which 
was made famous by Solon, “Until 
Death, no man’s life can safely be called 
happy.” This terminates in an orches- 
tral climax of fifty-six bars in Maestoso 
and Adagio which crescendos to a 
double fortissimo of great beauty and 
fades out in a final pianissimo. 

“Oedipus Tyrannus” was first per- 
formed in the original Greek, but in 
later productions, the text was given 
in both Greek and English. Mr. Paine 
departed from the Greek custom of 
presenting the music wholly in unison 
and octaves, and, using all the known 
devices of unison, harmony and coun- 
terpoint, of which he was then thor- 
oughly the master, he produced a work 
equalling in stateliness and impressive- 
ness that of the great masters of the 
old world, and again one of his works 
was pronounced the greatest composi- 
tion which, up to that time, had been 
written by any American. The chorus- 
es were so resplendent that they elicted 
the praise of the most discriminating 
critics and were declared truly magni- 
ficent and conceived with great orig- 
inality. 

It is said of Mr. Paine, at this time, 
that his advance in romanticism was 
evidenced in the superb music for 


“Oedipus” and what followed. “Truly 
noble” is a phrase that has been used 
by more than one critic in referring to 
Paine’s Oratorio, “St. Peter,” and his 
musical setting for “Oedipus.” 

A very fine appreciation of Mr. 
Paine and his “Oedipus Tyrannus” ap- 
peared over the signature of Philip H. 
Goepp in the Harvard Graduates Mag- 
azine (Boston) in September, 1906, 
shortly after the composer’s death. 

Mr. Goepp says: 

“The Oedipus music marks the high 
point of the composer’s career at Har- 
vard. No one who heard those per- 
formances at Cambridge in the Spring 
of 1881, least of all the musical men of 
Harvard, will forget the great impres- 
sion. With all the splendor of setting, 
the fine detail of each part, the spirit 
of the leading roles, above all the pow- 
er and pathos of Oedipus himself,— 
the music, when we come to review 
the whole, was the best of the feast. 
As often happens, the incidental be- 
comes the essential. What saved the 
great impression of the tragedy, made 
it more than an antique revival, was 
the rich, melodious, noble setting of 
choruses and prelude. It gave the sen- 
uous element by which alone a great 
conception is felt and remembered. 
The grim tragedy we knew in the class- 
room; the tenderness that Paine found 
and expressed was a new, delicious 
note. Everything conspired to make a 
rare success; the devoted absorption of 
Mr. Paine, who was at the height of his 
power, the grandeur and novelty of the 
subject, the splendid seriousness of the 
audience for whom he was writing. .. . 

“From the purely musical stand- 
point, apart from its immediate pur- 
pose and effect, Paine’s setting of the — 
Oedipus choruses have to-day, after 
twenty-five years, the same potent 
charm as on their production. In view 


MUSIC OF THE STATE OF MAINE— 1857-1896 131 


of the rapid changes which the art of 
music has undergone in this interval, 
such a test is proof of a high degree of 
beauty. It may be said with confi- 
dence that a renewed general hearing 
will result in a far higher estimate of 
the work than has hitherto prevailed. 
It is certainly true that never has the 
pathos, in short the full reality of a 
Greek tragedy, so come home to the 
present writer as in a study of these 
settings, and especially in the second 
chorus. It shows to the full the power 
of music to revive a noble conception 
of long ago. It proves the wisdom of 
Paine’s idea, to glorify the Greek po- 
etry with all the resources of modern 
music, instead of giving a mere repro- 
duction of the primitive shifts of an 
archaic phase of the art. There is a 
special alternation of tender beauty 
with dramatic power, with constant 
surprise of delicate rhythm and bold 
harmonies. We are struck with the 
blending of melodic simplicity (neces- 
sary for amateur singing) with the 
highest plane of serious conception. 
The Oedipus choruses will prove one of 
the greatest works of modern music, 
and the pride of Harvard musicians 
will be redoubled in the double posses- 
sion. There are in the work the ele- 
- ment of striking originality and the fine 
perfection of inner detail that proves 
the highest sincerity. The two are so 
different —the beauty that strikes for 
the moment, or the charm that stays — 
that one is tempted to set the one 
against the other, to think them actu- 
ally opposed. 

“The work that starts with a sensa- 
tional furore seems almost necessarily 
_ surcharged with passages of mere et- 
fect, lacking the touch of inner coher- 
ence. This later quality of high fidelity 
and simple spontaneity was a special 


trait of Paine. To enjoy his works best, 


_ you must always take them in their 


continuous flow and in the complete 
design. You must not look for pretty 
bits and flashing chords, or mere strik- 
ing moments. Yet here and there a 
work will come, often at the high point 
of a career, so concentrated in effort 
and achievement that by the force of 
its beauty it convinces once and for all. 
So one feels like comparing the Oedipus 
of Paine to the Faust of Gounod. 

“The temper of Paine’s writing was 
of a certain delicate Romanticism akin 
to the vein of a Goetz, a Bruch, and 
other tonal poets who have not as yet 
found a full appreciation. He was a 
disciple of none of the masters and of 
none of the schools, though his early 
works show a certain blended influence 
of Mendelssohn and Schumann. In- 
deed in these choruses there were no 
models that he actually followed, in the 
form or in the vein. One does not 
think of Mendelssohn’s Antigone or 
Oedipus as overshadowing examples. 
The fact is that here, where there was 
the immediate suggestion of a master, 
Paine not only did not follow, but, it 
may be said without over-boldness, 
found a more expressive vein of his 
own. And so we are impelled to a final 
word about a work of which Harvard 
may Well be proud,— springing pecul- 
iarly from academic traditions, written 
by one of the faculty for a college festi- 
val, giving a worthy tonal setting, be- 
fore the whole world of music, of the 
ancient classic tragedy.” 

Among the “Notes from the Harvard 
Greek Play” in the Harvard Magazine 
it was declared that “the music ranked 
so high as a work of modern art, and 
added so greatly to the comprehension 
of the situations and therefore to the 
profit of the audiences that the final 
verdict must be one of satisfaction and 
gratitude,” while the critic of the Na- 
tion prophesied that it would be “in- 
teresting to future generations as one 


132 


MUSIC AND MUSICIANS OF MAINE 


of the landmarks in the History of 
Musical Art.” 

Interesting are the statements that 
George Riddle, the famous reader and 
elocutionist, who assumed the part of 
Oedipus, received a laurel crown for 
the excellence of his performance, that 
so great was the interest in the first 
performance that people waited in line 
for eighteen hours, that within half an 
hour after the opening every ticket was 
sold, and that many were unable to ob- 
tain seats, though ten times the asking 
price of admission was freely offered 
by some of those who were turned 
away. 

The audience of more than one thou- 
sand, at that first performance, was a 
notable one and included in it were 
Henry Wadsworth Longfellow, Ralph 
Waldo Emerson, Oliver Wendell 
Holmes, George William Curtis and 
William Dean Howells, and it was said 
of it that it was an audience which, for 
literary distinction, probably never has 
been equaled in America. 

Mr. Paine’s Oedipus was later per- 
formed at the Globe Theatre in Boston 
and then at Booth’s Theatre in New 
York. Both of these performances 
were conducted by another eminent 
American composer, George W.°Chad- 
wick. 

Other works by Professor Paine in 
chronological order include the cantata 
for men’s voices and orchestra, ‘““Phoe- 
bus Arise,” words by Drummond, pub- 
lished in 1882; Keat’s “Realm of Fan- 
cy,” for chorus, quartette and orches- 
tra, 1882; Milton’s “Nativity,” com- 
posed for the Handel and Haydn As- 
sociation festival, 1883, a very beauti- 
ful composition from a contrapuntal 
standpoint, and, in the same year, the 
“Harvard Commencement Hymn,” 
words by James Bradstreet Greenough. 

His “Domine Salvum,” for chorus of 
men’s voices and orchestra, was pub- 


lished by the Harvard University 
Press. 

In 1899 was written what is, by 
many, regarded as Mr. Paine’s best 
work. This was his opera, “Azara,” 
founded on that masterpiece of French 
literature, ““Aucassin and Nicolette,” of 
which it may be said that a tale of 
truer love was never told. To appre- 
ciate the fidelity with which Mr. Paine 
has translated into terms of music the 
simple sentiments of this little romance 
of the middle ages, one should famil- 
iarize himself with the story of “Au- 
cassin, the frank and fair,” and “Nico- 
lette the debonaire” of whom Aucassin 
sang, 


Her body sweet and the face of her 
Take my heart as in a snare; — 


a story of love, of the tender heart and 
a sort of humorous resignation with a 
poetical touch that makes it live on 
through the years; how Aucassin, the 
damoiseau, fair and goodly and great, 
and featly fashioned of body and limb, 
as, indeed, all heroes were in medieval 
days, whose “hair was yellow in little 
curls, his eyes blue-gray and laughing,” 
and in whom “was none evil at all,” 
for the promise of “two words or three 
and one kiss,” went forth to do battle 
with the blood-thirsty Saracen; and 
how Nicolette, the little Paynim lady, 
who had been purchased of the Sara- 
cens, by the viscount for a slave girl, 
whose locks, also, “were yellow and 
curled, her eyes blue and smiling” and 
of whom the shepherd who was best 
able to use his tongue said, “a maid 
came past, the fairest thing in the 
world” and who was so very beautiful 
that the other shepherds mistook her 
for a fairy; as with her viol she went 
playing through all the country; how, 
when she escaped her jailors, after she 
had been taken prisoner, “she cut her 
curls of gold,” and how, when the 


MUSIC OF THE STATE OF MAINE— 1857-1896 133 


auricomous lovers were finally restored 
to each other, he 


“Kissed her often, kissed her sweet, 
Kissed her lips, her brows, her eyes.” 


“and fair joy was between them.” 

The striking contrasts between the 
pastoral scenes and the Saracenic con- 
testations, which abound in the poem, 
gave the composer an excellent oppor- 
tunity to exhibit his interpretative abil- 
ity—an opportunity of which he availed 
himself to the fullest extent of his cre- 
ative powers. “Azara” is a remarkable 
work and it is a great pity that in the 
more than a quarter of a century since 
it was written it has never been pro- 
duced. 

The opera is in three acts with or- 
chestra in full score. The ballet music 
from “Azara,” “Three Moorish Danc- 
es,’ has been separately published. 

Among Paine’s other important 
works were “Op. 23, Symphony #1,” 
orchestration for 23 parts; “Op. 28, 
Overture to Shakespeare’s, As You 
Like It,’ orchestration for 24 parts; 
“Poseidon and Amphitrite,” and “Is- 
land Fantasy, Symphonic poem,” or- 
chestration for twenty-seven parts in 
which he translates into musical terms 
the beauty and terror of the sea as sug- 
gested to him by two paintings of the 
“Isles of Shoals in New Hampshire by 
J. Appleton Brown; and “Symphonic 
Poem, Shakespeare’s Tempest,” orches- 
tration for twenty-six parts. 

Each of the above works are con- 
sidered by critics to be extremely valu- 
able contributions to American Music. 

In 1901 Mr. Paine made a musical 
setting for men’s voices of that great 
literary riddle, “The Birds” of Aris- 
_ tophanes. This was first performed by 
' the Harvard Classical Club in May, 
Igor, nearly twenty-three hundred 
_ years after its author had written the 
lyrics. The music is charmingly de- 


scriptive and one can almost hear the 
brown beaks 
thrilling 
With the holy music-trilling 
While 


Through the woodbine’s leafy bound 
Swells the pure melodious sound. 


Though Mr. Paine was not a prolific 
writer, in the smaller forms, he wrote 
some teaching pieces for the piano and 
a few vocal solo numbers. Of the for- 
mer, especially interesting are “Christ- 
mas Gift,” “Nocturne,” “Romance in 
C. Minor,” “Four Characteristic Pieces 
(Vier Character Stuecke),” “Impromp- 
tu,” “Woodnotes,” “Wayside Flowers,” 
“A Spring Idyl,” “Birthday Impromp- 
tu,” “Dance,” “Under the Lindens,” 
“Millstream,” “Village Dance,” “In the 
Country,” “Funeral March,” “Rondo 
Giocosa.” 

His “Fuga Giocosa,” built around 
that homely theme oft chanted by 
many a boy lover of the national game, 
“Qver the fence is out boys,” as its 
name implies, is written in jocose mood; 
but it has, nevertheless, been pro- 
nounced by musicians a real inspira- 
tion. 

His “Freedom,” and “Our Queen,” 
arrangements for four-part chorus or 
quartet, words by Oliver Wendell 
Holmes, and Stedman’s “Hymn of the 
West,” are among his best known 
vocal numbers. 

Four songs published in 1884 in- 
clude, “A Bird upon a Rosy Bough,” 
“Beneath the Starry Arch,” “Music 
When Soft Voices Die” and “A Fare- 
well.” ‘The last is set to Charles Kings- 
ley’s verses beginning, 


My fairest child I have no song to give you; 
No lark could pipe to skies so dull and gray, 


Quite contrary to the words of these 
lyrics Mr. Paine has not only given a 
song that is as sweet as one could wish 
but one that as an encore number 


OPENING BARS OF “« CHRISTMAS PIECE” FROM THE ORIGINAL MANUSCRIPT, BY JOHN KNOWLES PAINE, 
WRITTEN FOR AND DEDICATED TO HIS SISTER, HELEN, WHO GAVE MUSIC LESSONS IN PORTLAND, IN 
ORDER THAT HER GIFTED BROTHER MIGHT CONTINUE HIS STUDIES IN GERMANY. 


might oftener be used to advantage by 
concert artists. 

His compositions for the organ in- 
clude, preludes, masses, and other 
forms and, among others, variations 
upon the “Austrian National Hymn” 
and the “Star Spangled Banner,” and 
two compositions for the organ, “Fan- 
tasie uber Ein’ Feste Burg,” and con- 
cert variations upon “Old Hundred.” 

At the time of his death, April, 1906, 
Mr. Paine was at work on a symphonic 
poem illustrative of the character of 
Abraham Lincoln. 

It is said that Theodore Thomas 
played his “Columbus March” at sev- 
eral thousand performances. 

America never had a more conscien- 
tious composer than John Knowles 
Paine. By critics, generally, his har- 
mony was conceded to be faultless, his 
counterpoint beyond criticism. Mr. 
Paine’s care in composing gave oppor- 
tunity to one of his admirers, with a 
penchant for playing on words and 
rhyming, to indulge in a pardonable 
example of paronomasia by declaring 
that 

His harmony and counterpoint 

Are both without defect 
For all the works of John Knowles Paine 
Are Paine-fully correct. 


While his fame was as a composer 
and organist, he possessed a clear and 
broad technique at the piano. He 


proved to be an able and interesting 
lecturer and was an author of notable 
works on music as well. 

Through early articles in the North 
American Review he opposed the the- 
ories of Richard Wagner; but in his 
later compositions he seems to have 
shown a leaning towards similar ideals 
of tone-painting. 

Among his published contributions 
to literature are, “Famous Composers 
and Their Works,” and a “History of 
Music to the Death of Schubert.” 

Mr. Paine’s record as an educator 
stands as a monument to his ability 
and genius. He trained more than a 
score who became widely known as 
composers, organists and music critics. 
Among these were Arthur Foote, Louis 
Adolphe Coerne, Clayton Johns, Frank 
Lynes, Walter R. Spalding, John Al- 
den Carpenter, Frederick S. Converse, 
Percy L. Atherton, Edward B. Hill, 
Daniel G. Mason, Blair Fairchild, Wil- 
liam C. Heilman, Henry M. Dunham, 
Samuel Brenton Whitney, Charles H. 
Morse, Henry T. Finck, William Fos- 
ter Apthorp, Thomas Whitney Surette, 
and Henry Dyke Sleeper. 

Mr. Paine filed his resignation from 
the faculty of Harvard in May, 1905, 
to become effective the following Sep- 
tember. He was retired on a pension 
at the age of sixty-six, after having 


MUSIC OF THE STATE OF MAINE— 1857-1896 135 


elbgderal, Lf ee dy 


eANamanti rs Sons snnascr cede AtaRnendaneconadnie statis ae sieyscipenna sescoancenannnnie 


CLOSING BARS OF “A CHRISTMAS PIECE” WITH DATE AND AUTOGRAPH OF THE COMPOSER. 


served the University for forty-three 
years. 

The Harvard Graduates Magazine 
for September, 1906, says, “While he 
was one of the most famous members 
of the Faculty, yet from the nature of 
his subject he was not so well known 
to the body of students and graduates 
as most of his colleagues. Moreover, 
it is probably true that the full value 
of his work was more keenly perceived 
abroad than in the University. The 
Chair of Music was an experiment not 
only at Harvard, but in American 
Universities. At the close of Paine’s 
career it can be said not only that he 
held the office with great usefulness as 
a teacher, but that he reflected high 
renown upon Harvard from the bril- 
liancy of his individual works. Yet the 
acclaim of the latter almost necessarily 
came from the musical world outside; 
it is hardly to be expected that the Col- 

lege should appreciate the true quality 
of the creative work that was done, so 
to speak, under its own auspices. 

“In a country without great musical 
traditions it was of incalculable gain 
to have a master like Paine to encour- 
age and lead the way. In art a single 
living example is worth a hundred trea- 
tises. Pupils of the greatest promise 
are best taught by example, though 
strict pedagogy can in no wise be dis- 
~ pensed with. 

“Paine’s art was not merely aca- 
demic. He did not write, like some 


famous teachers of the past, merely to 
show that he could do it. He lived for 
composing, and so he was a vital stim- 
ulus to his pupils. But, single minded 
in his creative work, he was quick to 
kindle the spirit of his students. He 
had the kindly sense that sees the pos- 
sibility rather than the reality. None 
of his pupils can forget the personal 
interest that seemed out of all propor- 
tion to their own desert, —the hearty 
welcome of himself and of his wife to 
their home at all times. The power 
and effect of Paine’s teaching is seen 
in the line of active and successful mu- 
sicians who got their training at Har- 
vard. Under Paine, Harvard became 
the leading school for composition in 
America.” 

His was the first music of an Ameri- 
can composer to be performed abroad. 
It was his composition that was played 
at the Wagner Festival when, by invi- 
tation, he was chosen to represent 
America. On this occasion but one 
composer representing each nation was 
selected. 

He received his honorary degree of 
Master of Arts from Harvard in 1867 
and Doctor of Music from Yale in 
1890, and he was elected Fellow of 
American Academy of Arts and Sci- 
ences. 

The Concert Hall at Harvard has al- 
ways been known as the John Knowles 
Paine Concert Hall and that is the in- 


JOHN KNOWLES PAINE AT THE TIME HE REPRE- 
SENTED AMERICA AT THE UNVEILING OF THE 
WAGNER MEMORIAL AT BERLIN (1903). FROM A 
PHOTOGRAPH BY M. ADLER, KARLSBAD. 


scription in very handsome lettering 
above its entrance. 

Critics are unanimous in their ex- 
pressed opinion that none excelled 
Paine as a composer and contrapuntist. 

He has been pronounced the most 
classic of all American composers and 
has been variously referred to as “the 
Father of American Music,” “the Dean 
of American Composers,” and “The 
Nestor of the American Composers in 
the great classical forms.” 

One has said that “Before Paine 
there never had been an American 
composer worthy of serious considera- 
tion in the larger forms.” In fact for 
a number of years “he stood alone the 
one classical composer of America.” 

John Fiske wrote, “He gradually de- 


MUSIC AND MUSICIANS OF MAINE 


veloped a department of instruction in 
Music such as had never before been 
seen in the United States. It is due to 
him that music has been put on the 
same level with philosophy, science and 
classical philology, counting as much 
towards the degrees of Master of Arts 
or Doctor of Philosophy.” 

Theodore Thomas, a great admirer 
of John Knowles Paine, on one of his 
visits to Portland, was asked for his 
opinion of Paine as a composer. His 
reply was that Mr. Paine was, “Easily 
the greatest of all American Com- 
posers.” 

Referring to Paine’s oratorio “Saint 
Peter,” W. S. B. Matthews, in his One 
Hundred Years of Music, recites: 

“In style the work somewhat re- 
minds one of Mendelssohn, yet it is in 
no sense an imitation. The solo parts 
are largely recitative, passing by al- 
most insensible gradations to arioso 
and aria. The handling of the recita- 
tive is masterly, the text being intelli- 
gently declaimed in a musical setting 
enhancing its emotional implications to 
a remarkable degree. And it is safe to 
say that in any other country than the 
United States a great work by a dis- 
tinguished native of the country would 
not have been neglected to the extent 
that Paine’s St. Peter has been. Some 
allowance for this neglect may be made, 
however, upon the score of the great 
difficulty of the choral parts, in which 
modulations are employed as freely as 
in an instrumental fugue, and with per- 
haps somewhat too little consideration 
for the convenience of the voice.” 

“St. Peter” was again produced on 
May 9, 1874; this time in Boston by 
the famous Handel and Haydn Society 
with the Thomas’ Orchestra accom- 
panying and with Mrs. J. Houston 


West, Nelson Varney, Adelaide Phil- 


lips and J. F. Rudolphson singing the 
solo parts. 


MUSIC OF THE STATE OF MAINE— 1857-1896 137 


For more than half a century critics 
declared that Mr. Paine set a standard 
in this truly great composition that 
had not since been equalled by any 
other American. 

By his production of the oratorio 
“St. Peter,” Mr. Paine’s reputation as 
the first thorough composer in the 
grand style in America was established. 
Upton, in his “Standard Oratorios,” 
says of it, “From the highest stand- 
point, it is the only oratorio yet pro- 
duced in this country,” while a critic 
in the Musician of March, 1910, writ- 
ten more than thirty years after the 
first production of this oratorio says, 
“Careful study of St. Peter brings to 
light so many beauties and so many 
touches of the kind we are accustomed 
to rank as modern that we wonder why 
it has not proved more popular.” He 
declares that it is a stronger work mu- 
sically and contrapuntally than either 
of the two of Mendelssohn’s, and fur- 
ther points out that the first soprano 
solo, “The Spirit of the Lord,’ the 
choral, “How Lovely Shines the Morn- 
ing Star,” the tenor air, “Let not Your 
Hearts Be Troubled,” the Chorus of 
Angels, “Remember from Whence 
Thou Art Fallen,’ and the contralto 
solo, “The Lord is Faithful,” are all 
remarkably available for church use, 
given singers of musical feeling and 
true vocal capacity. 

It may be said here that, not only 
was the oratorio “St. Peter” the work 
of a great master, but its first perform- 
ance in Portland seemed to indicate to 
what a degree of choral perfection, in 
interpretation of the oratorio, the 
Haydn Association of that city had 
arisen under the directorship of Her- 
mann Kotzschmar. 

W. L. Hubbard, in his American H1s- 
tory and Encyclopedia of Music de- 
clared “He nobly advanced the cause 
of Music.” 


Appleton’s Encyclopedia of Ameri- 
can Biography said, “By eminent crit- 
ics in Germany, Prof. Paine is ranked 
among the foremost living composers.” 

The music critic of the Outlook at 
the time of Mr. Paine’s demise, wrote, 
“Death last week ended a life which 
has been of great value to America,” 
that “His most distinguished quality 
was his thorough knowledge of his sub- 
ject,’ and that, “his pupils remember 
the severe standards for musical com- 
position, his extreme indulgence for the 
student, his whimsical excentricities, 
his naivete, his likable egotism, his ab- 
sorption in his art and his fine simple 
spirit and character.” 

The editor of the Musician wrote 
that “while Mr. Paine never caught the 
popular ear he exerted a powerful in- 
fluence upon musical ideals, through 
his thorough education of so many 
young American Musicians,” and that 
he “always composed in a broad mas- 
terly way.” 

At the time that the restoration of 
the Longfellow birthplace, in Portland, 
was being undertaken by the Inter- 
national Longfellow Society (1914) it 
was discovered that a cheap glass pan- 
elled door and frame had been substi- 
tuted for the handsome Colonial door- 
way which originally adorned the fa- 
cade of this historic edifice. A com- 
mittee immediately interested itself in 
an attempt to procure an old doorway 
of a design similar to that of which the 
poet’s early home had been divested in 
order that this literary shrine might 
again appear as it was when first con- 
structed. 

The once fashionable, but then declin- 
ing sections of the city, were scoured 
with this purpose in view, until finally 
an owner of an old Colonial house, 
the interior of which had been made 
over into tenements of the cheaper 
class, consented to part with his very 


138 MUSIC AND MUSICIANS OF MAINE 


handsome, though somewhat weather 
worn doorway, in exchange for a new 
one with plate glass panel and modern 
trimmings. 

It was not until more than ten years 
after this episode that when, through 
the efforts of one, who had been a 
member of this old committee, to find 
the house in which John Knowles 
Paine was born, the location of which 
seemed to have passed out of the 
minds of all then living, the amazing 
discovery was made that the stately 
entrance with its mullioned side lights, 
its arched transom, and its moulded 
architraves which had been installed 
by the zealous restoration committee 
in the birthplace of the world’s best 
loved poet, had been taken from the 
recessed embrasure in the front of the 
building that first sheltered America’s 
first great composer. 

Thus was the birthplace of the com- 
poser of the Oratorio of “St. Peter” 
robbed of its Colonial doorway that 
the lintel of the home in which the 
author of “Paul Revere’s Ride” first 
saw the light of day, might be restored. 

In the following paragraphs, taken 
from a letter written by his nephew, 
Hugh Paine Greeley in 1927, an inter- 
esting reference to the simplicity of 
Mr. Paine’s home life is presented. 

“Prof. Paine was married to Eliza- 
beth Greeley and tried to support her 
by playing the organ at Appleton 
Chapel. She treasured the 75¢ ring that 
he gave her more highly than any oth- 
er possession. They had about Seventy- 
five Dollars when married. Young 
Paine went to Eliot, President of the 
University and‘urged that music should 
be taught in American Colleges, Eliot 
finally said, ‘If you will teach without 
pay, you may doso.’ Paine took it up 
with his bride and she wisely counseled 
him to do so, even if they had to live 
on the edge of starvation. At the end 


of two years Yale offered the pioneer 
Music teacher of America a salary and 
Eliot quickly matched it. Paine taught 
at Harvard from that day until his 
death. 

“His wife cared for him as for a 
child. She stood between him and the 
world. He was a guileless trusting man, 
living in his own world of music and 
of friendship, wholly unaware of the 
schemes and selfishness that surround- 
ed him. She managed the household. 
She kept him from interruption when 
he was composing. She husbanded his 
small salary and made it answer all 
needs. She entertained his friends, and 
widened the circle constantly. She 
fought his battles for him, dictated the 
terms of his contracts, defended him 
before the President and faculty of the 
college, and saw that the furnace was 
attended to, and the house painted at 
the proper time. 

“Prof. Paine took the liveliest satis- 
faction in the writing of the libretto of 
his opera ‘Azara.’ His mind for months 
was full of this composition, and he 
would recite portions of it gleefully to 
callers at the house. 

“During his last years diabetes tried 
to discourage him, but he was buoyant 
and responsive even with waning vi- 
tality. The week of his death he at- 
tended a luncheon given in his honor 
at the Tavern Club in Boston, where 
he was the idol of the party, vivacious, 
entertaining and happy. Shortly before 
his death he was at the Isle of Shoals, 
with his nephews. They were about to 
take a plunge in the swimming pool, an 
arm of the sea, enclosed by a small 
bay. In spite of age and infirmity, his 
spirit prompted him to join them. He 
hired a bathing suit, ran out on the 
diving board and plunged in with a 
perfect dive. Having swam out he was 
distressed because he could not find his 
glasses. He had forgotten to remove 


MUSIC OF THE STATE OF MAINE — 1857-1896 139 


them and the pool was emptied that 
night and they were recovered.” 

Letters from some of the members 
of Mr. Paine’s classes at Harvard Uni- 
versity who are now numbered among 
those who stand highest in the musical 
profession would form a symposium 
that would be of value as showing the 
high regard in which he was held by 
all his former pupils, and the admira- 
tion which they had for his musical 
skill. 

A few, however, will suffice here: 

Charles Henry Morse, first professor 
of music at Dartmouth College and 
one of the founders of the American 
Guild of Organists, wrote, 

“Tt was my great pleasure and priv- 
ilege to study with Prof. J, K. Paine at 
the New Eng. Cons’y of Music and 
later in Boston University College of 
Music in the ’70’s — Organ, Counter- 
point, Free composition, Orchestration 
and History of Music and I studied all 
the great Bach and Thiele organ com- 
positions with him. 

“T also regard him as America’s 
greatest composer by far and am proud 
of the fact that I found him not only 
an inspiring teacher but a very warm 
personal friend. He was a most sincere 
and honorable man, incapable of any- 
thing petty or narrow. He wrote his 
first Symphony when I was studying 
with him and brought his first drafts 
with penciled sketches of the instru- 
mentation to our classes in orchestra- 
tion, a most helpful object lesson. 

“T heard both his great symphonies 
at their first performances, which were 
triumphant and inspiring. Prof. Carl 
Baermann, with whom I studied Piano, 
greatly admired and honored Prof. 
Paine and told me after hearing the 
first Symphony, then in Manuscript 
that he considered it the equal of any 
symphonic work since Beethoven. 

“T heard, also, the first performance 


of the Oedipus music at Sanders Thea- 
ter (Cambridge), under his direction, 
and had the great pleasure of giving it 
two successful performances with my 
college chorus and Orchestra, when 
that great play was performed under 
the direction of the Greek Department 
at Dartmouth College some fifteen 
years ago, while I was Professor of 
Music there. 

“The play was splendidly given and 
the music made a great impression. 
The Critic of the Boston Transcript, 
wrote, “Ihe music of Prof Paine was 
well worth the trip to Hanover.’ 

“Many critics consider the Oedipus 
music his finest composition.” 

Arthur Foote, well-known organist 
and ranked as one of “The Big Five” 
among American composers, whose 
music is sung in nearly every church 
choir of any pretensions in the coun- 
try said, 

“T was glad to see that Portland has 
not forgotten her distinguished son, 
John Knowles Paine, the first Ameri- 
can born musician to compose music 
that placed him in the first rank. We 
younger men all looked up to him. He 
has never had the true recognition that 
was his due. As a teacher (and friend) 
I think of him with affection and grat- 
itude — having studied with him my 
last year at Harvard and after gradua- 
tion —and owe him more than can be 
expressed.” 

Prof. Walter R. Spalding, head of 
the division of music at Harvard Uni- 
versity, wrote, 

“Professor Paine, quite aside from 
his compositions, certainly did a very 
wonderful work in founding music at 
Harvard and for this his name will al- 
ways be held in lasting affection and 
regard.” 

Thomas Whitney Surette, Lecturer 
on Music and formerly Director of Mu- 
sic at Bryn Mawr College, stated, 


140 


MUSIC AND MUSICIANS OF MAINE 


BIRTHPLACE OF THE PORTLAND ROSSINI CLUB (1867), OLDEST MUSICAL ORGANIZATION IN AMERICA, 


WHOSE MEMBERSHIP IS COMPOSED WHOLLY OF WOMEN. 


THE SPIRE AND MINARETS AT THE RIGHT 


WERE THOSE OF THE HIGH STREET CONGREGATIONAL CHURCH IN WHICH CONCERTS BY THE PORTLAND 
SACRED MUSIC SOCIETY WERE GIVEN AS EARLY AS 1836. 


“I am glad to pay what tribute I can 
to John Knowles Paine with whom I 
studied, not only in the Music Depart- 
ment of Harvard but privately after 
leaving the department, and for whom 
I have always had a great admiration. 
I have always deplored the neglect 
which his compositions have suffered 
during the last twenty years, and think 
it would be of great benefit to Ameri- 
can music if they were given more 
often. I particularly admire his setting 
of Milton’s ‘The Nativity, and I think 
it is a finer work of its kind than any 
other composition by an American.” 

Henry M. Dunham, Boston organist 
and composer, said, “I surely have the 
very great honor and pleasure of hav- 
ing been a pupil of Prof. John Knowles 
Paine and studied with him at the time 
when he was a Professor in two col- 
leges at the same time,—Harvard and 


the Boston University College of Mu- 
sic. As a teacher he was genial and yet 
thorough. As a Bach scholar and in- 
terpreter he was inimitable in his day 


'in this country.” 


The Portland Rossini Club 


“Fifty years 
Went by with music; and the rapid beat 
Of Time’s incessant feet 
Fell half unheard amid the enchanting noise 
Of instrument and voice.” 


The Portland Rossini Club, which 
bears the distinction of being the oldest 
musical club in America, and perhaps 
in the world, whose membership is 
composed entirely of women, dates its 
beginning back to the winter of 1867- 
1868 when a few representative Port- 
land women, eager to advance the 
cause of music in that city, met in the 
old Colonial homestead of Francis O. 


— ee 


tr 7 


ee See eye ee, Se oN 


ION RO ae ME ee, ane ee 


MUSIC OF THE STATE OF MAINE— 1857-1896 


I4I 


Libby, which then stood on the present 
site of the J. R. Libby Memorial Build- 
ing, at the corner of High and Congress 
Streets in Portland. 

The suggestion that such a society 
should be formed came from Isabella 
L. Millett of Portland and Elizabeth 
Cushing of Augusta in the winter of 
1865-1866. They called into consulta- 
tion Mrs. William Henry Dennett and 
she agreed to endeavor to interest 
some of her most promising pupils in 
the formation of such a club. These 
three with Mrs. Emily K. Brown may 
be said to have been the actual found- 
ers of the Portland Rossini Club. 

In the beginning the meetings were 
of an informal character, just a gather- 
ing, once a week, of a few enthusiasts 
of more than ordinary talent, who met, 
first at one house and then at another. 
For four years these music lovers, to 
the number of a dozen or more, con- 
tinued to meet weekly during the win- 
ter months. 

Following the program at the meet- 
ing on December 14, 1869, which was 
held at the home of Julia Libby, this 


society, destined to become one of the 


most notable music clubs in the coun- 


try, was organized and its first officers 


were chosen. They were Mrs. William 


Henry Dennett, President; Mrs. Emily 
K. Brown, Vice President; Harriet S. 


_ McCobb, Secretary; and Mrs. Frank 
_E. Allen, Treasurer. 


The principal object of the society, 


_ at that time, was stated to be, “A fresh 


impulse towards mutual development 
through the efforts of each individual 


~ member.” 


The membership was to be limited 
to thirty-five, each of whom was ex- 
pected “to contribute her part either 


in singing or playing at every second 


or third meeting, according to the dis- 
cretion of the officers.” 
At the following meeting, at which 


JOSIAH PIERCE (ISABELLA L. MILLETT), 
WITH WHOM THE THOUGHT OF ORGANIZING THE 


MRS. 


PORTLAND ROSSINI CLUB ORIGINATED (1865). 
FROM A PHOTOGRAPH MADE BY ELLIOTT AND FRY, 
LONDON, IN 1878. 


fifteen members were present, and 
which was held just a week later, the 
epitheton of the society was chosen. 

In the early post bellum days, when 
funds were desired for any worthy 
object, a raffle would be held, and so, 
in 1871, when the need of a club piano 
became urgent, a concert was given 
and two raffles were arranged, and 
from these sources the club realized 
nearly three hundred dollars towards 
the purchase of its first Chickering 
Grand. 

The first place of meeting of the 
club, at other than private residences, 
was in Samuel H. Stevens’ Piano Ware- 
rooms on Middle Street, opposite the 
head of Cross Street. There the society 
met, for a season, and there its first 
concert was given. 


142 MUSIC AND MUSICIANS OF MAINE 


After 1870 the club held its meet- 
ings first at the warerooms of W. G. 
Twombley on Exchange Street, then 
in Reception Hall which was located in 
the old City Hall building, and after- 
wards successively in Fluent’s Hall, 
Mercantile Hall, the Rossini Hall on 
Exchange Street, Kotzschmar Hall, the 
Lafayette Hotel, Pythian Hall and 
Frye Hall. 

In the winter of 1925-26 it became 
established in a capacious room in the 
Blue Triangle House opposite Frye 
Hall: 

The Portland Rossini Club was in- 
corporated by the State Legislature 
February 18, 1871. The incorporators 
were Harriet N. Wetherbee, Emily K. 
Brown, Elizabeth C. Allen, Isabella L. 
Millett, Harriet S. McCobb and Mary 
D. Boyd. 

The object of the society was then 
stated, in the incorporation papers, to 
be, “mutual improvement in the art of 
music.” The capital stock to be issued 
was three thousand dollars, subject to 
increase by vote of the club to twice 
this amount. 

In 1891 the by-laws were amended 
so that the club might hold personal 
property not exceeding six thousand 
dollars and real estate not exceeding 
twenty thousand dollars. 

Active members at the time of the 
incorporation of the society with dates 
of admission to membership were: 

Mrs. Elizabeth C. Allen (Mrs. Frank 
E. Allen), 1869; Mrs. Helen M. Allen 
(née Helen Paine), 1870; Mrs. Jane 
W. Anderson, 1869; Ellen J. Barker 
(Mrs. Orrin S. Fogg), 1870; Mary D. 
Boyd (Mrs. Franklin Barrett), 1869; 
Mrs. Emily K. Brown (Mrs. George 
L. Andrews), 1869; Mrs. Mabel Burn- 
ham (Mrs. W. H. Fessenden), 1869; 
Caroline N. Burpee (Mrs. E. P. Shaw), 
1870; Sarah R. P. Carter (Mrs. Quim- 
by), 1869; Ellen M. Corser (Mrs. D. 


A. Easton), 1869; Mrs. Letitia J. Cum- 
mings, 1869; Caroline E. Davis, 1869; 
Mrs. Lina C. Dennett (Mrs. William 
Henry Dennett), 1869; Elizabeth W. 
Dyer (Mrs. Abiel M. Smith), 1869; 
Mrs. Sarah M. Ellison, 1869; Mrs. Ab- 
bie E. Emery (Mrs. Bloomfield Brow- 
er), 1869; Mrs. Elsie H. Farley (Mrs. 
Cyrus H. Farley), 1869; Susan Farley 
(Mrs. William T. Ormiston), 1869; 
Alice Gerry (Mrs. David Stewart), 
1870; Elizabeth S. Jones (Mrs. Stanley 
T. Pullen), 1869; Annie Lally (Mrs. 
Frank H. Phipps), 1869; Ella C. Lew- 
is, 1869; Henrietta H. Lewis, 1869; 
Julia P. Libby (Mrs. Rollin Augusta 
Ives), 1869; Harriet S. McCobb, 1869; 
Mary S. McCobb, 1869; Mrs. A. Eliza- 
beth Merrill, 1869; Isabella L. Millett 
(Mrs. Josiah Pierce), 1869; Harriet J. 
Morrill, 1870; Hannah C. Nichols 
(Mrs. Charles Cushman), 1869; Mrs. 
Deborah R. Norcross, 1871; Mrs. Mar- 
tha D. Pierce, 1869; Mrs. Edward M. 
Rand (née Emily Kelley), 1869; Anna 
H. Shepley (Mrs. Dexter Tiffany), 
1869; Mrs. Joseph P. ‘Thompson, 1871; 
Mary A. Torrey (Mrs. Hermann Kotz- 
schmar), 1871; Sarah E. Ware (Mrs. 
John Mackay), 1869; Mrs. Emma S. 
Waterhouse, 1869; Mrs. Jane M. U. 
Webb (Mrs. Nathan Webb), 1869; 
Mrs. Harriet N. Wetherbee (Mrs. Ho- 
ratio N. Jose), 1869; Anna W. Wood- 
bury (Mrs. George Wells), 1869. 

Of the four original founders of the 
Rossini Club but one, Mrs. Josiah 


Pierce, was living in 1928. She is re- 


membered by the older musicians as 


Miss Isabella L. Millett. She, it was, 
with whom the thought of organizing 
such a club originated and she may be 
said to be the mother of the Portland 
Rossini Club. 

For Mrs. Frank E. Allen (Mrs. 
Elizabeth Cushing Allen), another of 
the founders of the Rossini Club, it is 
claimed that it was owing largely to 


Se 


MUSIC OF THE STATE OF MAINE— 1857-1896 143 


her great interest and energy that the 
club was successfully launched. Mrs. 
Allen studied with Hermann Kotz- 
schmar, with whom she had a life long 
friendship, and, as a pupil, Kotzschmar 
delighted in her. She assisted him in 
many of his musical enterprises. It is 
said of her that, “She was born with 
the gift of music.” 

Mrs. George L. Andrews, née Emily 
K. Oliver, who, as Emily K. Brown, 
was one of the four who founded the 
club, first married James Olcott Brown, 
a scion of one of Portland’s best known 
families. Mr. Brown lived only about 
four years after their marriage. Several 
years later she married General George 
i. Andrews, U.S. A., and as an officer’s 
wife visited many foreign ports. She 
was the daughter of Henry Kemble 
Oliver of Salem, author of several well- 
known hymns, including the familiar 
“Federal Street,” and inherited her mu- 
sical talent from her father. Possessed 
of a fine voice, she lent her influence to 
all that was best in music. She was the 
first to serve as Vice President of the 
club, and was also one of the incor- 
porators. She has been described as 
“gifted, attractive, and with great 
charm of manner.” Referring in after 
years to the meeting at which the orig- 
inators of the club gathered to form 
this musical organization she wrote, 
“We would hardly have dared to hope 
the result of that hour’s talk would be 
the thoroughly formed, strong musical 
society, so high in standard, that bears 
the name of the Portland Rossini 
Club.” After General Andrews retire- 
ment she lived with her husband in 
Washington where she died in 1920. 

Mrs. W. H. Dennett, one of the 
Original members and the first Presi- 
dent of the Rossini Club, was a very 
prominent vocal teacher in Portland 
for many years. 

Mrs. Dennett served the society as 


MRS. WILLIAM HENRY DENNETT, FIRST PRESIDENT 
OF THE PORTLAND ROSSINI CLUB (1869-1870). 


President for one year, when Mrs. 
Harriet N. Wetherbee (who later be- 
came Mrs. Horatio N. Jose) succeeded 
her in the chair which she held for a 
period of twenty years. 

With the beginning of the third sea- 
son (1871-1872) Mrs. Dennett was ap- 
pointed the first musical director of the 
club. 

The ultra conservative local news- 
papers of this early period, reflecting 
the thought of the time, gave evidence 
of their distrust of anything under- 
taken by women. The only words of 
criticism or praise of the performance 
of one of the first programs of the 
Rossini Club are found in the words, 
“The following selections we are told 
were really well done. . . .” 

Mrs. Harriet (Wetherbee) Jose, 
whose death occurred on August 9, 
1912, was elected the second President 
of the Rossini Club in 1870, and was 


144 


MUSIC AND MUSICIANS OF MAINE 


 ——————————— 


MRS. HARRIET N, WETHERBEE, SECOND PRESIDENT 
OF THE PORTLAND ROSSINI CLUB (1870-1891), 
AND SOLOIST ON THE OCCASION OF THE PRESENTA- 
TION OF JOHN KNOWLES PAINE’S ORATORIO “ST. 
PETER IN 1873. 


reélected each year thereafter until 
1891. Her musical career began as 
Harriet Cammett, and she is remem- 
bered as soloist, first, in the Old Port- 
land Sacred Music Society, and later, 
of the Haydn Association, and in the 
principal choirs of the city. For years 
she was the leading soprano in the 
State and charmed every one with her 
bird-like voice and wonderful execu- 
tion. A critic said of her, “our country 
has not yet produced a more accom- 
plished songstress. Her power of ex- 
ecution is remarkable and the compass 
and flexibility of her voice are alto- 
gether supreme.” 

Mrs. Emily Kelley Rand, when she 
died in 1920, had served the Rossini 
Club as President for twenty-five years. 


She had been an active member from 
1869 to 1920; Treasurer from 1871 to 
1891; President, 1891 to 1917; and 
Honorary President from 1917 to 1920. 

In November of the year of her 
death the Rossini Club, assisted by the 
Kotzschmar Club and prominent mu- 
sicians, united in a memorial program 
given to honor her memory at Frye 
Hall. 

On the evening of January 21, 1921, 
the Portland Rossini Club celebrated 
the golden anniversary of its incorpo- 
ration, by giving a superb concert and 
holding a reception at Frye Hall, in 
Portland. 

This proved to be the most brilliant 
occurrence in its eventful history... 

The program, which was especially 
appropriate to this rare occasion, was 
opened by a review of the achieve- 
ments of the club, by the President. 

Elizabeth Pullen’s poem, “The Gold- 
en Milestone,” was read and an ad- 
dress on music was made by Thomas 
Errington Calvert, music critic. 

The stellar attraction on the pro- 
gram was Arthur Hackett, American 
tenor, a native of Portland, who, with 
his wife, Constance Freeman Hackett, 
formerly of Yarmouth, at the piano, 
appeared in two groups of songs. 

Of unusual import was the singing 
of Meyerbeer’s duet, “Per serbar me 
fedele,” by Mrs. Frederick H. Palmer 
(Florence Knight) and Mrs. Matthew 
Keenan (Katherine Ricker), performed 
in the same manner in which they had 
given’ it twenty-eight years before at 
the World’s Columbian Exposition. 

In the golden anniversary book of 
the Portland Rossini Club was printed 
a complete list of its members, past 
and present, with dates of admis- 
sion (the last two figures of each year 
being given here), and, as this is valu- 
able as showing the period of activity 
of some of Portland’s most highly cul- 


ee ee ee ee 


ee ee ee OL ee a ee a a a 


MUSIC OF THE STATE OF MAIN E-— 1857-1896 145 


a = 


tured and accomplished women mu- 
sicians for half a century, it is, with 
the exception of the names of the 
charter members, which will be found 
in an earlier part of this chapter, re- 
produced here. Those against whose 
names is placed an asterisk were mem- 
bers of the club in its fiftieth anniver- 
Bary year. 

Mrs. Alberta Abbott,* ’11; Eleanor Adams* 
(Mrs. Adam P. Leighton, Jr.), ’07; A. Eloise 
Adams (Mrs. James Freebourne), ’95; Alice 
M. Allen* (Mrs. John W. Bowers), ’85; Mrs. 
E. S. Anderson, ’08; Mary Preble Anderson,* 
’89; Julia M. Andrews (Mrs. F. R. Jones), ’73; 
Miriam Andrews,* ’17; Amy Anthoine, ‘Io: 
Louise H. Armstrong,* ’02; Ellen Babcock, ’14; 
Helen Baine* (Mrs. Howard Clark), ’10; Bea- 
trice Banks* (Mrs. Alfred Brinkler), ’10; Con- 


stance Banks* (Mrs. Earle Rundlette), ’10; 
Beatrice Barber, ’04; Ina Barbour (Mrs. John 


Blake), 06; Mrs. G. Mortimer Barney,* 98; 


Alena Belle Bartlett (Mrs. Leonard Woodbury), 
78: Mary Bates (Mrs. Stephen P. Gilbert); 
Mildred Bennett, ’08; Lillian Bernstein,* ’19; 
Minna Bernstein,* ’19; Fanny G. Berry (Mrs. 
Calvin Woodside), ’95; Gertrude E. Berry,* ’00; 
Mrs. Frank C. Bibber,* ’95; Mrs. Madeline Files 
Bird (Mrs. Franklin H. Wilkins), ’05; Helen 
Birkenmayer (Mrs. Bertram Adams), 712; Alice 
B. Blanchard, 76; Lucy N. Blanchard,* 72; 
Helen Bonney, ’o1; Mrs. J. H. Rounds, ’oo; Mrs. 
William S. Bowen, 714; Mrs. C. Everett Boyn- 
ton,* 712; Alice L. Bradford,* ’o2; Harriet P. 
Brazier* (Mrs. Ralph G. Libby), ’10; Mrs. Mor- 
timer N. Bremon,* ’07; Mrs. Charles W. Briggs, 
’o1; Elizabeth M. Brown, ’84; Louise S. Brown 
(Mrs. Harry M. Verrill), ’94; Sally Carroll 
Brown* (Mrs. Herbert Payson), ’86; Violetta 
Brown* (Mrs. Harold Lee Berry), ’04; Beatrice 
E. Bryant,* ’17; Margaret Bryant (Mrs. Alfred 
McGrath), ’78; Miriam Burke, *16; Harriet 
Burnham, 774; Mrs. Robert Burns, ’16; Gertrude 
Buxton,* ’13; Anna C. Carey* (Mrs. Lux 
Bock), 711; Lillian Carllsmith, ’83; Ada Cary 
(Mrs. Frank McKenny), ’72; Ina E. Carlow, 
’t0; Marion Carter,* ’20; Frances M. Chandler 
(Mrs. C. K. Hawes), ’72; Mrs. Ellen O. Chase, 
73. Florence M. Cheney (Mrs. Fred Allen), ’94; 
Alice O. Chick, ’02; Florence E. Chipman, ’o2; 
Mrs. Elizabeth Choistry (Mrs. John Scott), 713; 
Francine L. Clarke (Mrs. George Kettembile), 
8c. Mrs. Franklin P. Clarke, ’o1; Geneva E. 
Clark, ’o7; Gertrude Clark, 714; Minnie E. 
Clark, ’91; Mrs. A. C. Cloudman,* ’o1; Emily S. 
Cobb, ’96; Helen Cobb,* ’97; Mary Alice Cobb, 


MRS. EMILY KELLEY RAND, THIRD PRESIDENT OF 
THE PORTLAND ROSSINI CLUB (1891-1917); HON- 
ORARY PRESIDENT (1917-1920); AND A MEMBER 
OF THE CLUB FOR MORE THAN FIFTY YEARS. 


’91; Florence Coffey,* ’20; Susan G. Coffin,* ’05; 
Harriett Collver, ’18; Mrs. Leroy Cook (Mrs. 
Eunice M. Kiley), ’14; Mary P. Cox (Mrs. 
Charles E. Longfellow); Blanche O. Cram (Mrs. 
Longfellow), ’98; Helen H. Cressey,* ’05; Alice 
M. Curtis* (Mrs. George E. Laird), ’03; S. 
Helen Cushing (Mrs. W. H. Dearborn), ’73; 
Janet Cutler, 16; Gertrude Dam* (Mrs. Charles 
Tarling), 07; Frances Darker* (Mrs. Stanwood 
Fisher), 11; Annie L. Davis (Mrs. Carl Akely) ; 
Mrs. Gilman Davis,* ’02; Margaret B. Davis, 
’91; Sally Davis, ’10; Mrs. Mary T. Denison, 
76; Florence Dingley, ’02; Mrs. Edward Dodge; 
Mrs. Rex Dodge,* ’12; Frances Dodwell (Mrs. 
Alexander Siemens), 777; Mrs. Charles Doten,* 
’r1; Ethel M. Dresser (Mrs. Ethel D. Shurtleff), 
’81: Kate F. Dyer (Mrs. Henry Wood), ’83; 
Mrs. Emma Hayden Eames, 773; Mrs. Ada H. 
Emerson (Mrs. Ada H. E. Hazel), ’75; Ellen O. 
Eveleth* (Mrs. Charles D. Barrows), 76; Ellen 
Fairfield (Mrs. Luther B. Moore), ’90; Harriet 
W. Farnham (Mrs. Charles Pease), ’08; Grace 
Farrington (Mrs. Grace F. Homsted), 03; Har- 
riet H. Fassett, ’95; Mabel R. Field, ’88; Eva E. 
Findley, ’92; Clementine Fletcher (Mrs. Arthur 


146 MUSIC AND MUSICIANS’ OF MATES 


B. Morrill), ’83; Mary Fletcher (Mrs. Chase 
Eastman), ’96; Mrs. Lucy M. Flint, ’ °743 Marion 
Fobes (Mrs. Lawrence Brainerd), ’95; Evelyn 
D. Fogg (Mrs. Hermann P. Olcott), ’98; Sarah 
A. Folsom, ’09; Marie E. Foss (Mrs. Paul 
Hutchinson), ’08; Harriet Foster* (Mrs. Harriet 
F. Chadwick), ’95; Mrs. Henry P. Frank,* 711; 
Claire L. Freeman, ’11; Lucille French, 08: 
me Fullerton,* 10; Mrs. Helen G. Gardner, 
; Gertrude Gerrish® (Mrs. Daniel C. Pat- 
be 16; Bertha G. Gilson, 96; Marguerite 
Girouard,* ’ to; Eva A. Goodwin, 87; Margaret 
Goodwin, ’93; Alice Goudy* (Mrs. Henry G. 
Farley), ’06; Mrs. Annie J. Goudy (Mrs. Lewis 
A. Goudy), 93: Louise Goudy (Mrs. George 
Megrew) ; Elizabeth M. Gould (Mrs. Lyman 
Rowland), 73; Ruth Gould (Mrs. Victor Gil- 
patrick), ’12; Editha Gowen, ’12; Jessie F. 
Grant, 783; Charlotte Gunn* (Mrs. George F. 
Roche), ’o1; Mrs. Mary L. Hanson* (Mrs. 
Harry S. Files), ’10; Mrs. Fanny Harford (Mrs. 
Percy Andrews), ’10; Harriet B. Harmon,* ’04; 
Carrie A. Haskell, ’86; Mrs. Robert Hatch, 715; 
Mrs. Foster L. Haviland,* ’10; Martha F. B. 
Hawes* (Mrs. Ernest J. Hill), ’95; Martha V. 
Hemenway* (Mrs. David W. Snow), *72; Mar- 
guerite Higgins (Mrs. Horace T. Hahn), °13; 
Esther J. Holden (Mrs. Leon Bibber), 15; An- 
nie C. Holmes* (Mrs. George J. Akers), 799; 
Mrs. Robert V. Horan,* ’15; Lizzie L. Hovey, 
(Mrs. Herbert Knight), ’92; Anna D. Howell,* 
’08; Alice H. Hudson (Mrs. Sanford Bray), ’85; 
Mrs. Louis Huston, 708; Julia H. Jackson, 783; 
Mrs. Theodore H. Johnson,* ’74; Mrs. Josiah H 
Johnson,* ’ 11; Inez E. Johnston (Mrs. Clifford 
Woodbury), ’05; Grace Jones, ’04; Louise Jones, 
10; Alice M. Jordan (Mrs. Harry Dyer), 943 
Eva Belle Jordan (Mrs. Arthur Warren), ’05; 
Lillian M. Jordan (Mrs. Charles Baker), 93: 
Lucy H. Jordan,* ’83; Margaret S. Jordan (Mrs. 
Walter Fogg), ’96; Mary G. Jordan (Mrs. Sid- 
ney Williams), ’94; Helen N. Jose (Mrs. Her- 
bert H. D. Pierce), ’76; Agnes Keating,* *10; 
Delma Kennedy* (Mrs. Clarence Dresser), 715; 
Mrs. Kenniston, ’09; Mrs. Joseph W. Kilborn, 
’o1; Bertha King* (Mrs. Charles K. Fenderson), 
’08; Elizabeth King, ’96; Jennie S. King* (Mrs. 
Frank J. Bragdon), ’77; Marietta King, ’73; 
Mrs. W. A. Kirkpatrick (Mrs. W. H. Shurtleff), 
o1; Florence G. Knight* (Mrs. Frederick H. 
Palmer), ’88; Harriet E. Knight, ’10; Elizabeth 
Kriger, ’15; Ione Lackee, ’12; Mrs. Carl Lam- 
son, 06; Helen Lamson (Mrs. Frank Elwell), 
’93; Mrs. John C. Lane, ’08; Mildred Lang (Mrs. 
Irving Rich), ’11; Lillian Lange (Mrs. James 
Hendry), ’13; Helen Lewis,* ’o4; Alice Libby 
(Mrs. Dana Grover), ’95; Florence H. Libby,* 
’08; Pearl G. Libby (Mrs. Pearl E. Flynn), ’03; 
Mary L. Libby (Mrs. Arthur Chamberlain) , 


’95; Mrs. Richard Libby,* ’19; Mrs. Ellen B. 
Littlefield,® Whe Ruth C. Long, 81; Mrs, James 
Ks Lothrop,* 718; Eliza S. Lowell, ’95; Mrs. Effie 
P. Malley,* ’19; Emily P; Mansfield, ’ 13; Grace 
E. March (Mrs. Grace M. Cook), ’02; Marjorie 
Mathis,* ’19; Mo I. McCalmon (Mrs. David 
Gray Miller), ” ; Bhima McDonald* (Mrs. 
James Stices sae 11; Mrs. James A. McFaul,* 
12; Ellen B. McGregor, Oss Clara Fa. Merrill* 
(Mrs. Frank O. Haskell), ’81; Dorothy Merrill,* 
17; Elizabeth Merrill, 713; "Grace W. Merrill 
(Mrs. Franklin C. Payson), ’77; Marcia Merrill, 
18; Clarice Merriman* (Mrs. Alfred Smith), 
11; Anna Miller* (Mrs. Joseph Korda), 17; 
Henrietta A. Milliken (Mrs. O. H. Fellows), ’76: 
Lois Mills,* 715; Eoline Monson (Mrs. Harry E. 
Wilson), ’12; Yvonne Montpelier,* *12; Helen 
Moody, ’09; Mary A. Moody (Mrs. H. L. Orr- 
man), 776; Mollie F. Moore (Mrs. L. E. Wil- 
lard), ’06; Mrs. Walter B. Moore,* *15; Loretta 
Moran* (Mrs. Joseph B. Kahill), ’11; Ella W. 
Morgan, ’90; Mrs. Walter W. Morong, ’o1; Alice 
Morrison, ’08; Jennie R. Morse, ’74; Clara E. 
Munger, 772; Emma F. Munger (Mrs. Horace 
Parker), ’72; Helen E. Nash (Mrs. Frank E. 
Sleeper), ’80; Mrs. Rupert Neily,* ’20; Helen 
Nelson,* ’17; Julia Edwards Noyes,* ’93; Verna 
Noyes, 714; Mary E. O’Brion, 778; Olive L. 
O’Dea, ’10; Marguerite Ogden,* ’00; Mrs. James 
B. O’Neill, ’95; Beatrice B. Orr, ’10; Mrs. Eliza- 
beth Latham Otis,* 717; Clara Pancoast, 03; 
Mrs. LeClaire Parmenter,* ’19; Emily Parsons,* 
’20; Catherine Patrick,* *10; Lucy E. Pennell, 
’90; Alice L. Philbrook,* ’81; Mrs. Mary Hill 
Pierce, ’75; Charlotte Pike (Mrs. Charlotte P. 
Lowell), ’11; Mrs. Cora F. Pike, ’92; Harriet 
Pike (Mrs. Hartman Butler), ’80; Elizabeth 
Pinkham (Mrs. Philip Brown), ’17; Ida May 
Pinkham (Mrs. Edgar K. Wilson), ’o1; Re- 
becca E. Poole* (Mrs. Robert H. W. Lord), ’07; 
Mrs. G. C. Porcher, ’12; Florence Prescott, ’97; 
Bernice M. Preston,* ’93; Annie E. Proctor, ’99; 
Helen M. Randall, ’85; Lois Reardon, ’15; Hen- 
rietta D. Rice,* ’89; Katherine M. Ricker (Mrs. 
Matthew Keenan), ’90; Edith Robertson (Mrs. 
George Jones), ’95; Mary Robinson (Mrs. Louis 
Hills), ’00; Mildred Rogers, ’97; Mrs. Cara Bax- 
ter Runciman,* ’20; Agnes Russell, ’00; Pauline 
D. Sargent, ’99; Florence A. Sawyer (Mrs. Hiram 
N. Cushman), ’04; Mary Sawyer, ’06; Alice C. 
Scammon (Mrs. Charles R. Parker), 783; Mrs. 
J. H. Seidel, ’14; Mary A. Seiders,* 96; Mrs. 
Charles Shattuck, ’08; Harriet A. Shaw, 777; 
Mildred Shaw, 713; Elizabeth C. Shirley, 785; 
Ruth Sisson, 715; Ethelynde S. Smith, ’11; Mrs. 
Fred Smith, ’13; Mrs. Edward H. Snow,* 10; 
Lillian Soule (Mrs. Louis Bodin), ’10; Helene 
Sparrow (Mrs. Helen E. Clarke),’73; Mrs. Sam- 
uel McC. Stanton, 718; Mrs. Wentworth Steph- 


ES ee ee a ee 


MUSIC OF THE STATE OF MAINE-— 1857-1896 147 


enson; Athene Sterling (Mrs. N. Ward Thomp- 
son), 708; Irene Sterling, ’08; Mrs. Frederick J. 
Stevens* (Mrs. James S. Dickerson), ’94; Louise 
S. Stevenson,* ’04; Bertha Steward* (Mrs. Jo- 
seph W. Whitney), 798; Florence E. Stinchfield 
(Mrs. Hoyt),’93;Gladys Stinson* (Mrs. Wallace 
Cook), ’14; Anna Stockbridge,* ’78; Mary Stur- 
divant, 715; C. Cawthorn Swallow, ’73; Marcia 
B, Swan, 72; Ida K. Tarbox, ’83; Julia St. Felix 
Thom (Mrs. Sidney W. Thaxter), ’78; Susan 
A. Thomas, ’83; Dorothea Thomes (Mrs. Fred- 
erick W. Banks), ’01; May Thompson (Mrs. 
William Green), ’92; Mrs. Samuel S. Thompson, 
10; Mrs. William N. Todd, ’10; Florence Top- 
liff (Mrs. James G. Wallace), ’08; Edith C. 
Trickey,*’95; Mrs. Ernest True,’95; Ruth Tuck- 
er (Mrs. Leon Haines), 714; Mrs. John Hupper 
Turner, 08; Ruth Turner (Mrs. Robert Rafter), 
’10; Mary E. Twigg, 96; Rose Tyler* (Mrs. 
Maynard Bird), 06; Mrs. Luther P. Vaill, ’10; 
Clementine Varney (Mrs. H. G. Huber), ’96; 
Lois Wasson,* ’19; Bertha S. Webb (Mrs. Leon- 
ard Paine), 785; Edna Webb* (Mrs. Latham 
True), ’95; Clara E. Webster (Mrs. Leroy L. 
Hight), 783; Ellen M. Webster (Mrs. L. H. Hal- 
lock), ’79; Marion R. Weeks, ’93; Mrs. George 
M. Whibley,* ’15; Arolyn White,* ’18; Mrs. 
Elise Fellows White,* ’14; Mrs. Evelyn D. 
White, ’96; Mrs. Robert Treat Whitehouse,* ’94; 
Margaret V. Wildes* (Mrs. James H. Craven), 
’92; Anna C. Willey, 775; Myra Williams, ’95; 
Margaret Wilson* (Mrs. M. A. Johnson), 09; 
Sue Winchell* (Mrs. Charles T. Burnett), ’98; 
Alice Wood,* 787; Ethel A. Woodbury (Mrs. 
Albion Merrill), ’95; Florian Woodbury (Mrs. 
Carleton Green), ’10; Helen Yorke, 713. 


Since its Golden Anniversary year 
the following have joined the Rossini 
Club: 

Pianists: Mrs. Maude Huston Haines, 
Zilphaetta Butterfield, Arline Burnham, 
Margaret McDuffie, Birdie Cohen, Sa- 
die E. Albling, Helen L. Bradbury, 
Mildred Corey, Mrs. Leah Peterson, 
Lillian Wolfenberger, Mrs. Robert De- 
Merritt, Frances Donnell, ‘Tillie Kap- 
lan, Marion Kelly, Simonne LeSieur, 
Martha McAdams, Phyllis Mosman, 
Muriel Smith, Virginia Sweetser, Elea- 
nor Carter, Leah Commeau, Ruth El- 
len Dodds, Ruth May Gerry, Florence 
Towle, Mrs. Alice Hay. — 

Vocalists: Mrs. William T. Kuschke, 
Mrs. Harry Seaford, Avis Lamb, Mari- 


JULIA EDWARDS NOYES, PRESIDENT OF THE PORT- 


LAND ROSSINI CLUB SINCE IQ9QI7, AND OF THE 
MAINE FEDERATION OF MUSIC CLUBS SINCE 1926. 


an Randall Dyer, Mrs. Floyd Richards, 
Ursula Johnston, Doris McCausland, 
Helen Ward, Gladys Russell Cook, 
Mrs. Sadie H. Nissen, Mrs. Lucille 
Potter Lavyn, Marion W. Theis, Eve- 
lyn B. Carroll, May Korb Cronham. 

Violinists: Emily Eldridge, Lillian 
Webber, Hilda Baker, Lillian Talbot, 
Dorothy Jones, Lois Pillsbury. 

Cellists: Mrs. Marie Camara and 
Elizabeth Chevalier. 

Those who have been elected to hon- 
orary membership of the Portland 
Rossini Club have been: Ira Berry, 
William H. Dennett, Hermann Kotz- 
schmar, George W. Marston, Samuel 
H. Stevens, Horatio N. Jose, Mrs. Ho- 
ratio N. Jose (Harriett Cammett), 


148 MUSIC AND MUSICIANS OF MAINE 


Mrs. George L. Andrews, Mrs. Sam- 
uel E. Spring, Ella C. Lewis, Lucy 
Nichols Blanchard, Mrs. Theodore H. 
Johnson, Alice L. Philbrook, Mrs. Jo- 
seph P. Thompson, Mrs. Abiel M. 
Smith, Alice Wood, Mrs. Nathan 
Webb, Mrs. Cyrus H. Farley, Mrs. El- 
len B. Littlefield, Harriet S. McCobb, 
Mrs. Josiah Pierce, Mrs. Stanley Pul- 
len, Mrs. David W. Snow, Anna Stock- 
bridge and Mrs. Latham True. 

The officers of the Rossini Club, 1871- 
1928, were Mrs. Edward M. Rand, 
1917-1920, Honorary President; Mrs. 
William Henry Dennett, 1869-1870; 
Mrs. Harriet N. Wetherbee (Mrs. Ho- 
ratio N. Jose), 1870-1891; Mrs. Ed- 
ward M. Rand, 1891-1917; Julia E. 
Noyes, 1917-1928, Presidents. 

Mrs. Emily K. Brown, 1869-1874; 
Sarah E. Ware, 1874-1876; Elizabeth 
W. Dyer, 1876-1880; Mrs. Abiel M. 
Smith (née Elizabeth W. Dyer), 1880- 
1891; Mrs. Frank E. Allen, 1891-1896; 
Mrs. Abiel M. Smith, 1896-1909; Mrs. 
Latham True (née Edna Webb), 1909- 
1916; Julia E. Noyes, 1916-1917; Mrs. 
Frederick H. Palmer (née Florence G. 
Knight), 1917-1924; Mrs. Charles Da- 
na Barrows, 1922-1924; Marguerite 
Ogden, 1925-1928; Henrietta D. Rice, 
1925-1928, Vice Presidents. 

Harriet S. McCobb, 1869-1872; Anna 
W. Woodbury, 1872-1873; Sarah E. 
Ware, 1873-1874; Henrietta Lewis, 
1874-1876; Mary S. McCobb, 1876- 
1878; Lucy N. Blanchard, 1878-1887; 
Henrietta Lewis, 1887-Dec., 1888; Lucy 
N. Blanchard, Dec., 1888-1893, Sec- 
retaries. 

Mrs. Herbert Payson, 1893-1894; 
Margaret B. Davis, 1894-1895; Mrs. 
Ellen B. Littlefield, 1895-1897; Edith 
C. Trickey, 1897-1899; Mrs. Frederic 
J. Stevens, 1899-1901; Alice Wood, 
1g01-1904; Dorothea Thomes, 1904- 
1910; Mrs. Frederic J. Stevens (Mrs. 


Frederick A. Tompson), 1910-1917; 
Mrs. Robert H. W. Lord, 1917-1920; 
Mrs. Latham True, 1920-1921; Henri- 
etta D. Rice, 1921-1925; Mrs. Charles 
K. Fenderson, 1925-1926; Mrs. Josiah 
H. Johnson, 1926-1928, Recording Sec- 
retaries. 

Lucy N. Blanchard, 1893-Jan., 1907; 
Marguerite Ogden, Jan., 1907-1925; 
Mrs. Harold D. Johnson, 1925-1927; 
Mrs. Earle C. Rundlette, 1927-1928, 
Corresponding Secretaries. 

Mrs. Elizabeth C. Allen, 1869-1871; 
Mrs. Emily K. Rand, 1871-1891; Alice 
L. Philbrook, 1891-1907; Mary A. Sei- 
ders, 1907-1928, Treasurers. 

Elizabeth S. Jones, 1872-1874; Mrs. 
Janie N. Thompson, 1874-1883; Mrs. 
Mary T. Denison, 1883, 1887; Mrs. 
Janie N. Thompson, 1887-1904; Louise 
H. Armstrong, 1904-1928, Librarians. 

The club, in its early days, had a pi- 
ano quartette composed of Mrs. Frank 
E. Allen, Mrs. Joseph P. Thompson, 
Mrs. Abiel M. Smith and Mrs. Theo- 
dore Johnson. 

Later, a regularly organized piano 
quartette was composed of Alice Phil- 
brook, Marion Weeks, Helen Lamson 
and Mary Alice Cobb. 

Edith Trickey, Marion Fobes and 
Mary Seiders were among those who, 
as others dropped out, became mem- 
bers of this quartette. 

The Rossini Club has always given 
a special program on the birthday of 
the composer of the Barber of Seville, 
and because Gioachino Antonio Ros- 
sini was born on that day which recurs 
but once every four years in the cal- 
endar, it has come to be looked for- 
ward to by the members as a quad- 
rennial event of no small importance. 

This has been generally observed by 
an elaborate evening concert, some- 
times complimentary to the friends of 
the club, and at other times open to 
the public. 


MUSIC OF THE STATE OF MAINE— 1857-1806 


The fact that the Rossini Club is the 
oldest of its kind in America was estab- 
lished by Mrs. Theodore Thomas while 
making a survey of the Women’s Mu- 
sical Clubs in this country, in prepara- 
tion for the Convention of Women’s 
Amateur Musical Clubs at the World’s 
Fair, Chicago, 1893. 

To this convention four delegates 
were chosen to represent the Rossini 
Club. They were Mrs. Emily Kelley 
Rand, President of the club; Florence 
Knight, soprano; Katherine Ricker, 
contralto; and Alice L. Philbrook, 
pianist. 

Because of its remarkable record 
this Maine club was named the first of 
the list of clubs recommended for di- 
plomas of Special Honor by the Bureau 
of Music, Theodore Thomas, Musical 
Director, and the Expert Jury of the 
World’s Columbian Exposition. 

Of the individuals recommended for 
special diplomas for the most artistic 
performance of the whole convention, 
but four names were mentioned. Two 
of these were Florence Knight and 
Katherine Ricker, of the Rossini Club. 
Thus were new laurels added to this 
historic organization. 

In the nineties the limit of active 
memberships was increased to fifty 
musicians, each of whom should “con- 
tribute her part to the program, as 
often as required by the executive com- 
mittee,” though provision was made in 
the by-laws for substitute performers. 
Those engaged in the study of music 
were then first admitted as student- 
members when elected by the Execu- 
tive Committee. The requirements 
were that they should be not less than 
sixteen years of age and must be rec- 
ommended by a teacher. Later the 
limit of active membership was in- 
creased to seventy-five. 

Student members then, as now, en- 
joyed all the privileges of the club — 


149 


except the right to vote—were ex- 
pected to perform twice each season 
before the active and student members, 
only, and were admitted to the artists’ 
recitals at half price. 

Intermittently the Rossini Club has 
had a chorus composed of some of its 
most interested members, and among 
the chorus directors have been Mrs. 
Evelyn Day White, Arthur S. Hyde, 
Mrs. Gilman Davis, Albert W. Snow 
of Boston, Llewellyn B. Cain and Mrs. 
James A. McFaul. 

Since 1926 the chorus has been di- 
rected by Mrs. Marion W. Theis. 

In 1928, from among the club’s most 
cultured members, the Rossini Vocal 
Trio was organized, with Avis Lamb, 
coloratura soprano; Mrs. Evelyn Bad- 
ger Carroll, contralto; and Mrs. Mar- 
ion Wentworth Theis, mezzo contralto. 
Susan G. Coffin was chosen vocal 
coach and accompanist. 

In 1923 an instrumental group which 
was first known as the Rossini Club 
Orchestra was organized from among 
the talented instrumentalists in the 
club by Mrs. Foster L. Haviland. The 
personnel and instrumentation of this 
aggregation which later adopted the 
name of the Rossini Orchestral En- 
semble was, in 1928, as follows: 

Violins, Lillian Talbot, Lois Pillsbury, Dorothy 
Jones, Eleanor Willis, Molly Armstrong, Eliza- 
beth Harriman, Ila Carr, Margaret Gerrish, Isa- 
bel Pease, Grace Gifford, Agnes Mannette, 
Frances Stimson, Thelma Latham, Janet Ken- 
nedy; Viola, Prudence Burke; Cellos, Katherine 
Hatch, Edith Lowell, Beatrice Pennell, Lillian 
Schwenke, Reta Pates, Valeria Carrignan; Dou- 
ble Bass, Marjorie Hodgkins; Clarinets, Ethel 
Edwards, Marjorie Applebee; Flute, Inez Blais- 
dell; Trumpet, Etta Reed Sheehan; Trombone, 
Marion Schwenke; Percussion, Barbara Corbett; 
Harps, Marguerite Ogden, Grace Tibbetts; Pia- 


nos, Gertrude Buxton, Mrs. Mae F. Haviland, 
Leader. 


During the five year interim, among 
those who, at one time or another, 


150 MUSIC AND MUSICIANS OF 


MAINE 


were members of the ensemble were: 

Adele Belchner, Mrs. Maida Brown, Beatrice 
Bryant, Mrs. Marie Camara, Elizabeth Cheva- 
lier, Mildred Dugan, Emily Eldridge, Grace 
Gifford, Marguerite Girouard, Victoria Grey, 
Augusta Healy, Veronica Hebert, Helen Kelley, 
Anna Korda, Mrs. Marion Priestly Horan, Mrs. 
M. A. Johnson, Mollie Jones, Mrs. Raymond 
Moore, Florence M. Parker, Gladys Parlin, Vir- 
ginia Ripley, Helen Spear, and Lillian Webber. 

_ Among those who have acted as Mu- 
sical Directors of the club have been 
Mrs. Herbert Payson, Alice Philbrook, 
Mary G. Jordan and Lillian Jordan. 

During the season of 1920-21 the 
Portland Rossini Club joined the Na- 
tional Federation of Music Clubs. 

In the season of 1925-26 the Port- 
land Rossini Club sent two of its mem- 
bers, the President, Julia Edwards 
Noyes, and Mary A. Seiders, as dele- 
gates to the National Federation of 
Music Clubs held at Portland, Oregon; 
and in this season it established a 
scholarship fund to be known as the 
Emily K. Rand Memorial Scholarship 
to help worthy music students. 

In 1926-27 the Emily K. Rand Me- 
morial Scholarships were awarded to 
Loretta LaRochelle, pianist; Avis 
Lamb, vocalist; and Emily Eldridge, 
violinist. Personality, perserverance, 
conscientious effort and love of the art, 
were contributing factors in arriving 
at the final decision. 

There were but two awards in the 
season of 1927-28. Loretta LaRochelle 
was again one of the winners and Lois 
Pillsbury, violinist, won the other 
award. 

Other activities of this club have 
been the furnishing of music to the 
Children’s Hospital and other institu- 
tions in the city, participation in the 
programs of National Music Week, as- 
sisting stores and factories in the de- 
velopment of music among their em- 
ployees and the endeavor to establish 


credits in the Portland schools for mu- 
sic studied under private teachers. 

Perhaps no greater tribute has ever 
been paid a musical organization than 
that of Thomas E. Calvert in his paper 
on Music read before the club on the 
occasion of its fiftieth anniversary, in 
which he said, “For half a century the 
Rossini Club has ministered to pure 
aesthetic pleasure in the serious con- 
templation of beauty — beauty in mu- 
sic. It has been an inspiration, a solace 
and a joy not only to its own members, 
but to generations of music lovers in 
this city.” 

The Rossini Club of Portland was 
one of the very first to recognize the 
service which may be rendered prom- 
ising young students of music by giv- 
ing them opportunity to appear pub- 
licly in recital and concert. It has 
brought to Portland not a few note- 
worthy artists and groups of musicians 
who have presented rare programs of 
music in their concert hall and has 
thereby done much to create and main- 
tain a desire for music in the classic 
forms among the people of Maine. Its 
aims have always been of the best and, 
by its example, it has inspired in other 
musical clubs in the State and in the 


country a desire to attain to and main- 


tain the Rossini standard. May it live 
a century that it may continue in its 
encouragement to the ambitions of the 
youth of the State; may it never lower 
its ensign in order to satisfy the de- 
mands of those who crave only ephem- 
eral music that can never prove to be 
more than the fad of a day; and may 


its members ever realize that they are 


a part of 
“the great music of Creation’s heart” 
and 


“Know themselves among the messengers of art.” 


—————— 


MUSIC OF THE STATE OF MAINE— 1857-1896 151 


The Mozart Club of Portland 


One of the older local musical clubs 
in the State was the Mozart Club of 
Portland, which was in existence as 
early as 1859, and which received its 
name from the composer of the first 
work that its members took up for 
study—Mozart’s ‘““Twelfth Mass.” The 
membership was composed of pupils 
of Samuel Thurston, who met weekly 
for the practice of opera choruses, glees 
and other concerted music, though 
some attention was given to solo work. 
The society gave a few concerts which 
were well received and presented the 
first operetta given by amateurs in Port- 
land, “The Haymakers,” by George F. 
Root. The scenery was painted ex- 
pressly for this production which was 
presented in Deering Hall, which then 
stood on the site later occupied by the 
Fidelity Trust Company. Mr. Thurs- 
ton conducted and Mrs. Thurston pre- 
sided at the piano. 

The operetta was so successful that 
it was repeated numerous times in 
Portland and in other cities of Maine. 

Among those who took leading parts 
in the several performances of the 
opera were Vesta Atwood and Louise 
Ilsley, sopranos; Hattie Eaton and Sa- 
rah Bennison, contraltos; John Mor- 
gan, tenor; George Leavitt, baritone; 
and Arthur Mears and Stephen John- 
son, basses. Mr. Morgan made his 
debut on this occasion. 


The Portland Musical Association 


The Portland Musical Association, 
the objects of which, as announced, 
were “For improvement in vocal mu- 
sic,’ was one of the old societies in 
_ which Samuel Thurston and John L. 
_ Shaw were the musical directors. Meet- 
ings were held twice each week during 
the winter months. 

This should not be confounded with 


The Musical Club which was another 
society organized in 1873 and which 
was composed entirely of young ladies 
whose club was founded “on a basis 
something like that of the Rossini 
Glib.’ 

Music has at times been put to 
strange uses. On January 23, 1860, a 
concert was given in Portland “‘in aid 
of a fund to defray the expenses in the 
trial of John W. Moody,” who had 
been, as the papers stated, “convicted 
in England of a high crime (which it 
is equally well known has palliating 
circumstances)” and who had been 
sentenced to penal servitude for life. 
His excellent record, as to character, 
was extolled, and the editor made an 
appeal to the people of Portland, in 
which he urged, “Let the hall be 
thronged, so that we shall afford the 
renewed testimony to our unfortunate 
townsman of the sympathy of his fel- 
low citizens to cheer him in his dreary 
imprisonment.” 

In 1866 the Portland Musical Asso- 
ciation presented Haydn’s “Imperial 
Mass in D,” with an orchestra assist- 
ing, for the benefit of a Portland citi- 
zen who was “suffering from disease 
and destitution in a land of strangers.” 

In the seventies two concerts were 
given in Bridgton to raise money to 
buy a hearse. 


The Polyphonic Club of Portland 
Portland had a Polyphonic Club in 


the late sixties. Its membership was 
composed entirely of church singers of 
the city. Its most conspicuous under- 
taking was the production of George 
W. Marston’s comic opera, “Don Bobo,” 
at Deering Hall in the spring of 1866. 
On this occasion the soloists were Dr. 
S. C. Fernald, Otto Burnham, John 
Morgan, Mrs. Mabel Bates Burnham 
and Sarah Ware. Two performances 
were given. The first for one of Port- 


152 MUSIC AND MUSICIANS OF MAINE 


THE NATIONAL PEACE JUBILEE CONCERT (BOSTON, 1869), IN WHICH MORE THAN TWO HUNDRED 


MAINE SINGERS PARTICIPATED. 


land’s charities, known as the R. F. 
Society, in “Aid of Freedom,” on March 
fourteenth, and the second for the ben- 
efit of the composer about ten days 
later. There was no orchestra. Mr. 
Marston played the piano accompani- 
ment and it was said to have been a 
great success. The hall was crowded 
to capacity each night and the young 
vocalists covered themselves with glory. 


Boston Peace Jubilee 


Perhaps the event which stands out 
most prominently in the remembrance 
of New England musicians who were 
a part of it was the Boston Peace Ju- 
bilee, in the month of June of 1869. 

The proportions of this great musical 
occurrence were of such magnitude 
that it was necessary to erect a build- 
ing especially for its performance, and 


FROM AN OLD STEEL ENGRAVING BY J. W. WATTS. 


a large and remarkable organ was con- 
structed for the occasion. 

So large was the hall that no ordi- 
nary soloist could be properly heard 
by the audience, and, to overcome this, 
about thirty of America’s finest vocal- 
ists united in singing the solo parts. 
These were designated as, “the bou- 
quet of artists,” and among these was 
one Maine singer, Flora Barry. 

Adelaide Phillips and Parepa Rosa 
were the vocalists who sang alone but 
theirs were voices of great power and 
compass. 

From the great chorus, every mem- 
ber of which had to submit to a vocal 
try-out before being allowed to partic- 
ipate, about fifty of the most accom- 
plished were chosen as leaders of the 
chorus, and among these were Otto 
Burnham, his wife, Mabel Bates Burn- 
ham, of Portland and Mrs. Louise Ly- 


MUSIC OF THE STATE OF MAINE— 1857-1896 153 


ford Marriner, a native of Waterville. 

Nearly all the countries in the civil- 
ized world sent their best bands to take 
part in this great Jubilee. Some of 
these were superb. 

Germany sent two of her most pop- 
ular composers, who conducted the per- 
formances of some of their own com- 
positions, one of whom was the famous 
Johanna Strauss. 

“The great and only” Patrick S. Gil- 
more was the organizer of this World 
Festival and the conductor of the 
mighty aggregation of musicians. Ev- 
erything was on a magnificent scale. 
There were twenty thousand perform- 
ers. 

Eight hundred vocal organizations 
were invited to send their choruses to 
take part in this gargantuan affair, An 
orchestra of five hundred performers 
played the “William Tell” Overture; 
and the obligato of the introductory 
overture on the opening day, ordinarily 
played by one performer, was per- 
formed by two hundred violinists. 

Mayerbeer’s “Coronation March” 
was played with a full band of one 
thousand instruments. 

The scene from “Il Trovatore,” in- 
troducing the “Anvil Chorus,” was 
brought out by ‘the grand chorus, the 
orchestra of five hundred performers, 
the band of one thousand, the immense 
organ, and several drum corps, and was 
supplemented by the firing of artillery 
just outside the building, and the ring- 
ing of the city’s bells by electricity, 
while the anvil accompaniment was 
performed by one hundred members of 
the Boston Fire Department, who had 
been especially rehearsed for the event. 
The effect was almost overwhelming. 
The audience numbered nearly thirty 
thousand, and with the aggregate of 
performers was said to have been the 
largest assemblage of musicians the 
world has ever witnessed. 


FLORA BARRY (BORN, PARIS, MAINE), FAMOUS 
ORATORIO CONTRALTO AND ONE OF THE “BOUQUET 
OF ARTISTS” AT THE BOSTON PEACE JUBILEE IN 
1869. FROM A PORTRAIT MADE IN THAT YEAR. 


Maine was well represented at this 
great and inspiring gathering: Port- 
land, by members of the Haydn Asso- 
ciation, M. N. Rich, President, and 
Hermann Kotzschmar, Musical Direc- 
tor; Lewiston, by the Androscoggin 
Musical Society, A. D. Lockwood, 
President, and Seth Sumner, Director; 
Damariscotta and Rockland, by mem- 
bers of the Knox and Lincoln Musical 
Association and the Rossini Club of 
Damariscotta, J. J. Bulfinch, President, 
and G. M. Thurlow, Director; Farm- 
ington, by the Farmington Choral So- 
ciety, C. A. Allen, President and Di- 
rector; Augusta, by the Augusta Cho- 
ral Society, George Weeks, President, 
and Waldemar Malmene, Director; 
Saco by the Saco Peace Festival Cho- 
rus, F. N. Hodgdon, President, and G. 


154 MUSIC AND MUSICIANS OF MAINE 


G. Additon, Director; and Bangor, by 
the Penobscot Musical Association, 
Rev. S. P. Fay, President, and Frederic 
S. Davenport, Director. 

In allthere were about two hundred 
and seventy singers who went from 
Maine to participate in the perform- 
ance of this national peace jubilee, be- 
sides many native sons and daughters, 
listed as singers from other states, who 
took active part in it. 


Arion Club 


The Arion Club, organized in Port- 
land by John L. Shaw, in 1870, was a 
singing association made up entirely of 
men and numbered about forty active 
members. They gave a number of con- 
certs and sang on many occasions, 
“highly to the satisfaction of those 
present.” The music sung by them con- 
sisted of choruses selected from favor- 
ite German composers. Samuel Thurs- 
ton was, for a number of years, con- 
ductor of the Arion Club, which was in 
existence as late as 1875. Among those 
who assisted as soloists at the Arion 
Concerts were Charles H. McLellan of 
Bath, vocalist; J. Dwyer, clarinetist; 
W. R. Carlton, baritone horn; and 
Annie J. Leavitt, vocalist. 


The Kreutzer Club of Portland 


The Kreutzer Club was organized in 
1870 and became one oi the most 
promising of Portland’s musical asso- 
ciations. It gave excellent entertain- 
ments of a miscellaneous character and 
continued successfully as an active mu- 
sical organization for more than five 
years. 

In 1871 James Ellison was its Presi- 
dent; W. Sylvester Beckett, Vice Presi- 
dent; Ira C. Stockbridge, Treasurer 
and Secretary; and John Morgan, Mu- 
sical Director. 

Mr. Ellison continued to be its Pres- 


ident until 1875 when A. E. Webb was 


elected to that office. 

From 1873 to 1875 its other officers 
were Charles Pearce, Vice President; 
Frank Coffin, Treasurer; Fred Tukey, 
Librarian; Ira Stockbridge, William H. 
Stockbridge and William Howard, Ex- 
ecutive Committee; and W. H. Den- 
nett, Conductor. 


The Portland English Glee Club 


In 1877 the Portland English Glee 
Club, which was established by John 
L. Shaw and Samuel Thurston, had a 
membership composed of ladies and 
gentlemen to the number of about for- 
ty. This association gave several ac- 
ceptable concerts. John Morgan was 
its Musical Director. 


The Weber Club of Portland 


The Weber Club of Portland was or- 
ganized at the home of David Page 
Perkins in Portland, on March 2, 1880, 
when there were present the four who 
became charter members of the club, 
John Morgan, James Watts, William 
C. Lambert and D. Page Perkins. Be- 
fore the end of the year thirteen new 
members, all of whom sang in Portland 
churches or other musical organiza- 


tions, were admitted. These were John — 


Morgan, conductor of the Williston 
Choir; James Watts, conductor, Wil- 
liam Kelley, basso, J. B. Crisham, ten- 
or, and Thomas Donnelly, bass, all of 
the St. Dominic’s Choir; H. L. Hough- 
ton, tenor, of the Chestnut Street; 
Henry W. Pratt, bass, of the St. Steph- 
en’s; Carl F. A. Weber, tenor, of the 
New Jerusalem; Frank W. Shaw, ten- 
or, of the India Street; C. M. C. Pratt, 
of the Free Street; T. J. Somers, basso, 
of the Cathedral of the Immaculate 
Conception; a Mr. McMunn from St. 
Joseph’s, Boston; William C. Lambert 
and F. A. Edwards, formerly of the 
Payson Memorial Choir; D, Page Per- 


ee 


ee 


; 


nn 
* 


MUSIC OF THE STATE OF MAINE-— 1857-1896 


155 


A GROUP OF REPRESENTATIVE PORTLAND MUSICIANS IN 1870, ALL OF WHOM WERE MEMBERS OF THE 


KREUTZER CLUB OF PORTLAND. 


LEFT TO RIGHT, STANDING: WILLIAM HOWARD, CHARLES. LIBBY, 
A. D. PEARSON, FRED TUKEY, W. SYLVESTER BECKETT, ALBERT DENNETT. 


SITTING: JAMES R. ELLISON, 


CASSIUS M. C, PRATT, FRANK COFFIN, IRA STOCKBRIDGE, WILLIAM H. STOCKBRIDGE, ALBERT WEBB, 


JOHN MORGAN. 


kins, tenor, and George A. Thomas, 
basso, of the Haydn Association, and 
Fred S. Sanford, baritone, of the Cum- 
berland Male Quartette. John Morgan 
was the conductor of the club from 


1880 until 1890 from which date until 


the disbanding of the club in Septem- 
ber, 1892, Hermann Kotzschmar was 
the conductor and Carl F. A. Webber 
was the assistant conductor. 

Others who joined after the year 
1880 were: John D. Johnson, H. R. 
Fling, W. E. Holden, George C. Gow- 
en, H. G. Parkman, Charles E. Baker, 
Fred E. Dow, Paul J. Lidback, Dor- 
ville Libby, Jr., George W. Tennant, 
F. H. Little, C. J. Stetson, H. G. Pear- 


son, pianist, J. O. Burke, J. H. Mont- 


gomery, William P. Goss, Frank C. 
Bibber, J. E. Leighton, W. H. F. Em- 


ery, Charles Barbour, Arthur N. Den- 
nis, Fred Senter, George H. Curtis, 
John E. Fisher, Frank Jones, Frank 
L. Gray, George W. Cooper and George 
Montgomery. 

The Weber Club, for twelve years, 
was the leading Men’s Singing Club in 
the State of Maine. They gave many 
successful concerts in Portland and in 
neighboring towns and cities. 

Because of the prominence in musi- 
cal circles of Carl F. A. Weber, who for 
a part of the time was President of the 
Weber Club, many Portland people 
were under the impression that the so- 
ciety took its name from him; but in 
reality, this society was named after 
Karl Maria von Weber, the great Ger- 
man composer. 

Henry L. Houghton was the first 


MUSIC AND MUSICIANS OF MAINE 


ai es 
QUART 


THE CECILIA QUARTETTE OF PORTLAND. LEFT TO 
RIGHT, UPPER ROW: NETTIE A. MILLIKEN, BELLE 
BARTLETT; LOWER ROW: JENNIE KING MORRISON, 
MARGARET BRYANT, 


President of the club; D. Page Per- 
kins was the Secretary and Treasurer; 
John Morgan was the Conductor and 
John B. Coyle, Hermann Kotzschmar, 
Charles D. Clark and John P. Welch 
were honorary members. 

Other Presidents were, Carl F. A. 
Weber, 1885-1886; F. H. Little, 1886- 
1888; Fred E. Dow, 1889-1890; and 
F. E. Bickford, 1891-1892. 


The Portland Choral Union 
The Portland Choral Union, which 


was organized in 1875, was composed 
of singers belonging to the India Street 
Church Choir. They gave a number of 
successful concerts and were coached 


by Charles E. Hodgkins. There were 
forty voices in the chorus, and the or- 
chestra was composed of six pieces. 


The Cecilia Quartette of Portland 


The “Cecilia” Quartette of Portland, 
a very successful ladies’ quartette, 
whose members had been chosen from 
the best church choirs in the city, was 
formed in 1881. 

Nettie A. Milliken, of the First Par- 
ish Church Choir, was first soprano; 
Belle Bartlett, of the High Street 
Church Choir, was second soprano; 
Margaret Bryant, of the Free Street 
Church Choir, was first alto; Jennie K. 
Morrison, of the First Parish Church 
Choir, was second alto; and Harvey 
Murray, who was then organist at the 
Williston Church, was the accompanist. 
A. B. Morrison was the manager of 
the quartette. 

Later, the “Cecilian Ladies’ Quar- 
tette” came into existence with the fol- 
lowing personnel: Elizabeth Brown, 
first soprano; Alice Sawyer, second so- 
prano; Nettie A. Morrison, first alto; 
and Jennie King Morrison, second alto. 

Both the Cecilia Quartette and the 
Cecilian Ladies’ Quartette gave many 
concerts. The latter toured the coun- 
try successfully with Karl Marshail, 
while under the name of The Cecilian- 
White Company, when this quartette 
was made up of Elizabeth Brown, Jen- 
nie King Bragdon, Edwina Richardson 
and Alice Sawyer. 

At the World’s Columb:an Exposi- 
tion the quartette was accorded the 
honor of a speciai resolution adopted 
by vote of the Board of Lady Manag- 
ers of the Commission. 


Portland Ancient Harmony Society 


The membership of the Portland 
Ancient Harmony Society, which came 
into existence soon after the close of 
the Civil War, was made up largely of 


Ce ae a a a a ee 


a aS Te ee en, ee a ee 


MUSIC OF THE STATE OF MAIN E— 1857-1896 157 


singers who, for various reasons, were 
not able to undertake the study of the 
classical oratorio. They therefore con- 
tented themselves for the most part 
with the study of the simpler forms 
and gave entertainments at which they 
sang from old psalm tune books, selec- 
tions that were in evidence in the thir- 
ties. One of the most ambitious feats 
of the society was the performance of 
Belshazzar’s Feast in the City Hall, 
Portland, in March, 1872. 


Old Portland Orchestral Society 
The old Portland Orchestral So- 


ciety was organized in 1852 for “im- 
provement in instrumental music.” Its 
first officers were Thomas Wright, 
President; Benjamin ‘Tukey, Vice 
President; George M. Howe, Secre- 
tary; George A..Churchill, Conductor; 
» Charles P. Carlton, Librarian; Benja- 
min Tukey and Charles G. Richards, 
Investigating Committee. 


Ardon Coombs’ Orchestras 


Chamber Music has always had its 
little coterie of devotees among Maine 
_ musicians who played, just for the love 
of it, and in Portland, Ardon Coombs’ 
Orchestra, as it was called, was a con- 
Spicuous example of this type of musi- 
cal aggregation. 

Ardon W. Coombs, for many years 
a well-known lawyer in Portland, was 
a pioneer in Chamber Music in Mainc. 
_ Though self-taught, he was a talented 
violinist and played with excellent style 
and finish and was considered by other 
musicians as the most accomplished 
amateur violinist in Portland in his 
day. In the seventies Mr. Coombs as- 
sociated himself with other music lovers 
_and held regular rehearsals of chamber 
_ music in his Vaughan Street home. 

The first combination was made up 
of Mr. Coombs, violin; Phineas Var- 


num, violoncello; Alonzo Millett, flute; 
and Charles Foye, piano. These were 
all men of exceptional musical ability. 
Mr. Varnum had been cellist in one or 
more of the large metropolitan orches- 
tras. About 1875 or 1876 Mr. Varnum 
was succeeded by Dr. Alger French; 
Mr. Millett by Charles H. Tolman; 
and Mr. Foye by Walter S. Smith, 
Mrs. Abiel Smith (mother of Mr. 
Smith), and Julia N. Gosse, in succes- 
sion. Mrs. Smith continued to play for 
this organization for a number of years, 
and, in fact, served as pianist for the 
longest period of any. 

In the nineties the quartette gen- 
erally consisted of Mr. Coombs, Joseph 
Tyler, Mr. Tolman and Mrs. Gosse. 
Mr. Tyler had the misfortune to meet 
with an irreparable injury to his hand 
and Charles Dickey then became vio- 
loncellist of the orchestra. Messrs. 
Coombs, Dickey, Tolman and Hill con- 
tinued to play together until Mr. 
Coombs’ death, which occurred in 1914. 
Others who acted as pianists in the or- 
chestra have been Hermann Kotzsch- 
mar, Harvey Murray, Mary Seiders, 
Mrs. Harry Verrill, George Thornton 
Edwards and Fred Lincoln Hill. 

Mr. Coombs’ library of music, con- 
sisting of arrangements from Beetho- 
ven and Mozart, symphonies and selec- 
tions from the standard grand operas, 
besides many compositions for violin, 
flute, violoncello and piano, came into 
the possession of Mr. Tolman. 

His quartette never gave a public 
performance, though, occasionally, an 
audience, numbering sometimes fifteen 
or twenty invited friends, were allowed 
to attend the rehearsals. The playing 
of the quartette is said to have “reached 
a higher plane of excellence than the 
modesty of its members ever claimed 
for it?” 

Mr. Coombs was such an enthusias- 
tic advocate of Chamber Music that 


158 


for many years he had two orchestras 
playing at his house each week. One 
of these orchestras consisted of Mr. 
Coombs, violin; Charles Richards, sec- 
ond violin; Frank Prince, viola; Ly- 
man Batchelder, violoncello; and Mr. 
Tolman, flute. This ensemble played 
for the most part arrangements of 
symphonies and other works in which 
the flute was given the difficult obligato 
and solo parts. 

On several occasions notable mu- 
sicians played in this orchestra. Among 
these were Thomas Ryan, famous clar- 
inetist and performer on the viola, and 
Wulf Fries, the celebrated cellist. Both 
Mr. Ryan and Mr. Fries were veteran 
members of the old Mendelssohn Quin- 
tette Club of Boston. 

Mr. Fries, whose summer home was 
located at Blue Hill, Maine, became so 
interested that as each Spring and Fall 
came around, he arranged to stop over 
on his way to or from Blue Hill to play 
for an evening in Mr. Coombs’ orches- 
tra. 


The Schumann Club of Portland 


The Schumann Club, which was in 
existence of 1876, was another singing 
society that was functioning in this 
period. Its officers in the Centennial 
Year were, D. W. Snow, President; B. 
T. McKellan, Vice President; H. C. 
Eaton, Treasurer; and J. H. O’Donnell, 
Secretary. 

It met regularly for the study of 
classical music. Hermann Kotzschmar 
was the musical director of the club. 


Orpheus Symphony Club 


About 1876 the Orpheus Symphony 
Club was formed in Portland. Its 
membership was composed of amateurs 
in instrumental music. H. L. Moxcey 
was its President, Arthur D. Morse, 
its Secretary-Treasurer and F. L. 


MUSIC AND MUSICIANS OF MAINE 


Moseley, its Librarian. Johann Gottlieb 
Friedrich ter Linden was the musical 
director of this organization which con- 


sisted of twenty members, all of whom — 


were his pupils. 


“Fred” ter Linden, as he preferred — 
to be called by his friends, was the first — 


to play the saxophone in America, al- 


though there have been others who ~ 
have laid claim to that distinction. He © 
instructed his charming blonde niece, — 
Louisa, on that instrument so that she © 
made an early sensation as the first — 
woman saxophonist in the United — 
States. He was a very good violinist, — 
was a member of Chandler’s Quad- — 
rille Band and played in the Cornet © 
Band on occasion. He gave two con- — 
certs in Portland City Hall at each of — 
which a trio played Beethoven selec- — 
tions successfully. Lyman A. Batch- © 
elder was cellist and Dr. James A. 
Spalding was the pianist. Ter Linden ~ 
composed, and dedicated to Dr. Spald- — 


ing, a set of “Casco Bay Waltzes” 


which were very melodious and ar- — 
ranged them for stringed orchestra. He ~ 
also composed an overture for brasses — 
after the florid style of Rossini, and a — 
dirge, or funeral march, “Hodie mihi — 


cras tibi.” 


Portland Philharmonic Orchestral 
Society 


Several attempts to organize philhar- — 


monic and symphony orchestras have 
been made in Portland, but none have 
continued for a long period. 


One of the most successful, however, — 
was the Philharmonic Orchestral Socie- — 
ty. Its first officers, elected in January, — 


1882, as published in its by-laws, print- 


ed in that year, were: Ardon W.Coombs, — 
President; D. H. Chandler, Vice Pres- 


ident; Arthur D. Morse, Secretary- 
Treasurer; Hermann Kotzschmar, Di- 


—_. = 


rector; Frank Burnham, Charles Grim-_ 


ee a a a ee 


MUSIC OF THE STATE OF MAINE— 1857-1896 159 


mer and William F. Todd, Councillors; 
and H. L. Moxcey, Librarian. 

Its members were: J. E. Aubrey, E. 
mrubrey, L. A. Bachelder, S. Bourne, 
Charles H. Bowen, Charles M. Brooks, 
A. E. Brown, Frank Burnham, Frank 
W. Buxton, Charles P. Carleton, Wil- 
liam E. Chandler, D. H. Chandler, 
Frank. L. Collins, Ardon W. Coombs, 
D. Davis, George C. Felt, A.W. French, 
E. M. Gammon, M. B. Gilbert, Charles 
Grimmer, Charles F. Jones, H. M. 
Jones, Louis M. Jones, E. A. Jordan, 
R. B. King, Hermann Kotzschmar, F. 
W. Leavitt, M. D. Maher, John Melia, 
F. Moore, Arthur D. Morse, H. L. 
Moxcey, Charles E. Pierce, L. 8. Perry, 
Frank L. Prince, C. G. Richardson, 
William F. Todd, Joseph Tyler, Ed- 
ward C. Webb, P. J. Willen, and F. H. 
Whipple. 

Harry A. Duncan was conductor of 
the society for a time, and also its 
organist. 

Among those who afterwards played 
with the Philharmonics were Frank H. 
Little, Charles Tolman and Dr. Walter 
S. Coleman. 


Portland Philharmonic Orchestra 


The Philharmonic Orchestral Society 
was followed by the Philharmonic Or- 
chestra organized September, 1888. The 
newer organization functioned for near- 
ly six years. 

Bates Torrey, for the greater period 
of its existence, was its leading spirit 
and its President, while A. D. Morse 
was Secretary. Its conductors were, 
first, Harry A. Duncan, and afterwards, 
W. E. Chandler. 


Some Notable Quartettes 


During this period a number of 
quartettes, for concert work, were or- 
ganized in Portland, and among these 
the most prominent were:— 


The Haydn Quartette, Florence 
Knight, soprano; Katherine Ricker, 
contralto; William H. Stockbridge, ten- 
or; Harry Merrill, bass, and Alice Phil- 
brook, pianist. 

The John L. Shaw Quartette, Nettie 
Milliken, soprano; Jennie King Morri- 
son, contralto; William H., Stockbridge, 
tenor; John L. Shaw, bass; and Mel- 
ville C. Milliken, pianist. 

The Forest City Quartette, Mrs. C. 
K. Hawes, soprano; Margaret Bryant, 
contralto; William H. Stockbridge, ten- 
or; John L. Shaw, bass; and Hattie N. 
Adams, pianist. 

The Amphion Male Quartette, Wil- 
liam P. Goss, first tenor; George W. 
Cooper, second tenor; William E. Hol- 
den, first bass; and Horace Perham, 
second bass. 

The Stockbridge Quartette, Nellie 
Barker, soprano; Mrs. G. M. Cum- 
mings, contralto; William H. Stock- 
bridge, tenor and James Watts, bass. 

Later the Stockbridge Quartette was 
made up with Nettie Milliken, soprano; 
Mrs. Lewis A. Goudy, contralto; Wil- 
liam H. Stockbridge, tenor; John B. 
Coyle, Jr., bass; and Albert E. Pennell, 
pianist. 

Another organization known as the 
Amphion Quintette Club was com- 
posed of William Davy, John Morgan, 
William Chamberlain, and Fred Tukey, 
with Leafy Chandler, pianist. Whcn it 
first made its appearance (1873), its 
vocalists formed a mixed quartette. 
Mrs. C. K. Hawes was the soprano; 
Alice Carle, contralto; John Morgan, 
tenor; Fred Tukey, bass; and Julia N. 
Gosse, pianist of the club. 

An instrumental club formed at 
Woodfords Corner (Portland) in Janu- 
ary, 1877, was composed of Granville 
M. Stevens, double bass; S. H. Stevens, 
E flat cornet; Elmer Boothby, Ist vio- 
lin; P. Mosher, B flat cornet; and Dr. 


Alexander Parsons, violoncello. 


160 MUSIC AND MUSICIANS OF MAINE 


THE PLEASANT HILL ORCHESTRA OF FALMOUTH. 


Another instrumental club in Port- 
land was the Artistes Quartette which 
appeared in concerts in the early eight- 
ies. Its members were Ada B. Ken- 
nard, Addie Jackson, W. H. Seward 
and Bertie Webb, violinist. 

The Beethoven Club of Portland 
practiced chamber music and appeared 
in concert in Portland. Ardon W. 
Coombs was the leader and the other 
members were D. F. Davison, W. R. 
Carlton and Phineas Varnum. 

The Portland Concert Company, in 
the eighties, gave concerts in a number 
of New England cities. The company 
was composed of Mrs. C. K. Hawes, 
Jennie King Morrison, Albert E. Pen- 
nell, and John L. Shaw, with Harvey 
Murray, accompanist. A. E. Pennell 
was the musical director. 

An unnamed instrumental quintette, 


LEFT TO RIGHT, STANDING: E. L. COBB, Cc. H. TOLMAN, 
MRS. W. H. MERRILL, W. H. MERRILL, L. G. MILLIKEN; FRONT ROW, SITTING: F. A. MERRILL, FLORENCE 
LEACH, ETTA KNIGHT, L. A. BACHELDER, M. CATHERINE PATRICK, 


for some time, about 1865, met weekly 
at Falmouth Corner and rehearsed 
chamber music for the pleasure they 
derived from it. The members were 
Daniel Patrick, violin; Henry Prince, 
cello; Algernon Stevens, flute; Henry 
Waite, clarinet and Lyman A Batchel- 
der, violoncello. 

The Old Pleasant Hill Orchestra, 
later organized at Falmouth, consisted 
of Lyman A. Batchelder, Elbridge L. 
Cobb, William H. Merrill and his 
brother Fred A. Merrill, Charles H. 
Tolman, Lemuel G. Milliken, Cath- 
erine Patrick, Mrs. W. H. Merrill and 
Etta Knight who was pianist of the 
orchestra. 

The Amphion Male Quartette of 
Norway, organized in 1874, did consid- 
erable concert work throughout Maine 
and in New Hampshire for nearly ten’ 


YM, <2 Seo ee ae 


<o* TT oe 


MUSIC OF THE STATE OF MAINE-— 1857-1896 161 


years. From about 1877 to 1882, Mrs. 
Cora S. Briggs of Norway was the 
pianist. Silas H. Burnham was first 
tenor, Chester Howe, second tenor, 
George A. Briggs, baritone and Enoch 
Clement, bass. 

In 1874, John L. Shaw and H.L. El- 
lis leased the Old Fluent Hall, changed 
the name to the Portland Museum and 
opened a season of stock. In the com- 
pany were J. A. Arnold, William H. 

Tiller, Clara Fisher and Blanche Eller- 
man. These sang together as the Port- 
land Museum Quartette and became 
very popular with the theater patrons. 
William Ihnenfeldt was the musical 
director and leader of the orchestra 
which was composed of German mu- 
sicians. “The Bohemian Girl” was pre- 
sented by the cast on the opening night. 
Several other operas were given by the 
company during that season. 
After a time the original orchestra 
was succeeded by a local one which was 
made up of Charles Grimmer, leader 
and first violin; Frank W. Buxton, sec- 
‘ond violin; C. G. Richards, viola; E. A. 
Jordan, bass; E. B. Beckett, flute; W. 
'F.. Todd, clarinet, and T. B. Davis, 
cornet. Frank Burnham and E. G. 
Pennell were among those who later 
played in this orchestra. 
An amateur opera, “Cupid,” written 
by Walter Goold, organist of St. Luke’s 
‘Cathedral, was produced at the Old 
~Museum, which had come to be known 
as Fannie Marsh’s Theater, in 1878 by 
the Warwick Club. It was announced 
as an “opera bouffe” and all the parts 
-weretakenby men. Four presentations 
were given. The principals were E. E. 
Elder, E. L. Bridge, Frank Curtis, Dr. 
$8. C. Fernald and Frank Parker. 
_ “Pinafore” was produced at the Mu- 
-seum by local talent in 1879. The prin- 
‘cipals were Ilsley Noyes, Lewis E. 
‘Smith, F. H. Edwards, D. G. Pingree, 
_ E.G. Jackson, C. G. Burnham, Frank 


AMATEUR OPERA IN PORTLAND IN THE EIGHTIES, 
““PHREE LITTLE MAIDS FROM SCHOOL,” FROM “THE 


MIKADO”; JENNIE KING MORRISON, FLORENCE 


KNIGHT, ANNA STOCKBRIDGE. 


Parker, Annie Fowler, and Inez Hop- 
kins. Mr. Parker, who had assumed 
the role of Genevieve, Queen of the 
Fairies, in “Cupid,” played the part of 
Josephine in Sullivan’s opera. 

In May, 1888, a group of amateurs 
gave a successful performance of the 
“Pirates of Penzance” in Portland. 
Among the principals in the cast were 
Franklin C. Payson, David W. Snow, 
Harry M. Nickerson, H. T. Water- 
house, Frederick F. Talbot, Julia Stev- 
ens, Alice Wood, Florence Knight, 
Eliza Starr, and Harriet Randall. Wal- 
ter Goold was the musical director, and 
Grimmer’s Orchestra was in the pit. 

One of the most successful amateur 
operas ever given in Portland was a 
production of “The Mikado” at about 
this time, in the old City Hall at the 
head of Exchange Street. Principals 
in the cast were Florence Knight, 
Katherine Ricker, Jennie King Mor- 
rison, Anna Stockbridge, Dr. Harry 


162 


MUSIC AND MUSICIANS OF MAINE 


M. Nickerson, Elliott Mitchell and 
Frank Pierce. 


Imperial Mandolin and Guitar Club 


One of the first Mandolin Clubs to 
be formed in Portland was the Impe- 
rial Mandolin and Guitar Club organ- 
ized in November, 1886. 

Frederick J. Ilsley was its leader for 
several years until 1893, when he was 
succeeded by G. W. Pennell. Mr. Pen- 
nell was Secretary of the Society in its 
early days, and later S. C. Barnum 
was elected to that office. 

Other members of the organization 
were Sumner C. Varnum, Herbert Rob- 
inson, and Carl Davis. On its concert 
tours of the larger cities and towns of 
the State, Tommy Glynn 'was fre- 
quently the assisting artist. 

“Chamber Concerts” in Portland 
were inaugurated by Samuel Thurston 
in about the Centennial year, when a 
series of six concerts were given in 
Muzzey’s Hall, which had been re- 
built after the devastating holocaust of 
1866 in which it had been destroyed. 
The managers of the course embraced 
the opportunity to present a large pro- 
portion of the best vocal and instru- 
mental performers in the city. Her- 
mann Kotzschmar was accompanist 
and solo pianist. The concerts were 
fairly supported and well received. 

It was during the great fire of 1866 
that the forty-three Portland Catholics, 
who attended the chapel which had 
been erected on the lot acquired for a 
site for the new Cathedral, saw their 
place of worship and convent, together 
with the uncompleted walls of their 
beautiful new church edifice, reduced 
to a smouldering ruin. They gathered 
in a sail loft on the waterfront to hear 
Mass and to sing Vespers until a tem- 
porary structure could be erected on 
their Chapel site. 

Right Reverend David W. Bacon, 


the first bishop of Portland, brought 
teachers of music from Montreal when 


he founded an academy for girls in 
1864, and introduced Sisters of Notre 


Dame of Montreal into the Diocese. 
The academy building was located 

on the site later occupied by the Jef- — 

ferson Theatre, which was purchased 


by Bishop Walsh, just before his death, © 
to become a part of the Catholic Insti- 


tute, a grammar and high school for 
boys. The Sisters of Notre Dame in- 
structed the small number of children 
under their charge in the rudiments of 
vocal and 


who opened St. John’s School in Ban- 
gor in 1865. 


In 1873 the parochial schools of 
Portland were placed in charge of the — 


Sisters of Mercy, many of whom are 
excellent musicians. 
came to be established in the parochial 


instrumental music and. 
taught them hymns for church and ~ 
school use, as did the Sisters of Mercy — 


These Sisters — 


schools in the principal cities of the © 
State and in the state schools at the © 
Indian Reservation at Oldtown, Pleas- — 


ant Point (Eastport) and Dana’s Point 


(Calais), and from the ranks of those, — 
who, as children, were in their train- — 


ing, adult choirs have been selected 
for their churches. 


Bishop Bacon was a zealous patron — 


of the art of music. At the dedication of 
the Cathedral of the Immaculate Con- 
ception in 1869, Hermann Kotzschmar, 
at his request, formed from the best 
singers of the city, a choir numbering 
nearly fifty vocalists who sang Weber’s 


-— -y 


“Wass in G” under the direction of W. — 
H. Dennett with Mr. Kotzschmar at — 


the organ. 
Fifty years later, with organ and or- 
chestra, at the celebration of the Gold- 


en Jubilee of the Cathedral, the same 


Mass was sung by the combined Cath- 


q 
L 
y 
; 
4 
# 


olic Choirs of Portland, when three © 


thousand children from the parochial 


; 


MUSIC OF THE STATE OF MAIN E— 1857-1896 163 


THE AFTERNOON CHOIR OF THE SECOND PARISH CHURCH, PORTLAND, EACH MEMBER OF WHICH WAS 


A CONCERT ARTIST. 


B. COYLE, JR., MRS. WARREN CHASE, AND HERMANN KOTZSCHMAR. 


IN 1888. 


schools of the city and surrounding 
towns gathered at the Cathedral of the 
Immaculate Conception and sang the 
hymns of thanksgiving. 

The first paid Catholic quartette 
choir was organized and sang in the 
Cathedral when Charles Libby was 
organist under Bishop Bacon, and was 
at that time pronounced one of the 
finest in the State. Its members were 
Sally Ellison, Nellie Barker, John Mor- 
gan and W. H. Dennett. 

One of the most important events in 
the history of Catholic music in Maine 
was the installation in the Parochial 
School curricula for the study of Greg- 
Orian music, the liturgical chant of the 
Catholic Church, by the Right Rever- 
end Louis §. Walsh, Bishop of Portland. 


An event long remembered in Port- 


LEFT TO RIGHT: WILLIAM H. STOCKBRIDGE, MRS. JENNIE KING MORRISON, JOHN 


FROM A PHOTOGRAPH MADE 


land, was the singing by the school 
children of the city, on July 4, 1862, 
under the direction of Samuel Thurs- 
ton. Tiers of seats about twenty feet 
in height had been erected on the west- 
erly side of State Street in front of the 
residences of Hon. William Pitt Fes- 
senden and Judge Ether Shepley. On 
these were seated two thousand chil- 
dren who had been selected from the 
Portland High School, Willis School 
and the several grammar and inter- 
mediate schools of the city, all waving 
small American flags and “blooming 
like June roses.” On the highest seat 
stood a young lady, who impersonated 
the Goddess of Liberty, and about her 
were grouped thirty-four others, bear- 
ing shields on which were emblazoned 
the coats of arms of the States of the 


164 MUSIC AND MUSICIANS OF MAINE 


Union. Accompanied by the Seven- 
teenth Regiment Band, they sang pa- 
triotic songs inspiringly. An address 
was given by Hon. Israel Washburn, 
Governor of Maine. The evening pa- 
per declared it to be “the prettiest ex- 
hibition that had ever taken place in 
this state.” 

Prominent on concert programs, in 
Portland, in this period, other than the 
Haydn Concerts, were, Hattie Adams, 
Belle Bartlett, William S. Beckett, 
Clara Blanchard, Nellie Barker, Ellie 
L. Brackett, Elizabeth Brown, Mar- 
garet A. Bryant, Mabel Bates Burn- 
ham, Alice Carle, Charles E. Chase, 
Mrs. W. P. Chase, Eva Cleaves, Clara 
Cobb, John B. Coyle, Jr., Mrs. G. M. 
Cummings, Sarah M. Ellison, Alice 
Fairman, Nettie Milliken Fellows, 
Alice Gerry, Mrs. Lewis A. Goudy, 
Florence E. Grant, Mary Harking, 
Fannie C. Hawes, William H. Haskeli, 
W. R. Howard, Fannie E. Jordan, 
Marietta King, Georgia May Latham, 
Annie Leavitt, Alice Leavitt, Mary E. 
Merrill, Belle Millett, Ada Cary Mc- 
Kenney, Mary Moody, Jennie King 
Morrison, Mrs. Charles Norcross, A. 
E. Pennell, Virginia Dean Pingree, 
Mrs. E. M. Pillsbury, Mrs. Charles 
H. Pratt, Henrietta Rice, Annie Louise 
Rice, John L. Shaw, Anna Starbird, 
Nellie St. John, George A. Thomas, 
Samuel Thurston, Charles L. Trow- 
bridge, Emma Waterhouse, E. Free- 
man Waterhouse, Alice Waterhouse, 
Hattie Weeks, Harriet N. Wetherbee, 
Mrs. Nathan Webb (née Jane Usher), 
William H. Stockbridge, and Bertha 
Webb. 

Pianists were Annie Allen, Elizabeth 
M. Allen, Annie Greely, Fannie Libby, 
Mary Jordan, Harvey Murray, Mrs. 
H. C. Nichols, Alice Philbrook, and 
Mrs. J. N. Thompson. 

William Sylvester Beckett sang at 
many concerts in Portland and was a 


member of the State Street Church 
Choir. He afterwards went to New 
York where he sang in Rockefeller’s — 
Church. He had a baritone voice of — 
beautiful quality and was said to have 
been “the best bass singer, who ever 
went out of Maine.” | 

Alice Carle, a favorite Portland vo- — 
calist, had a rich contralto voice and ~ 
sang in a number of churches and at 
many concerts. She was soloist at the 
First Parish Unitarian Church, Cam- 
bridge, 1873 to 1874, and sang with © 
the Boston Opera Company. 

Ada Cary McKenney (1853-1922) — 
possessed a rich contralto voice which ~ 
strikingly resembled that of her half 
sister, Annie Louise Cary. She made 
a successful tour of the country, dur- — 
ing which she was accompanied by 
John T. Fagan as flute soloist and ob- 
ligatist. She was much sought after as _— 
a concert artist in Maine and in many 
New England cities. 7 

Frances Dodwell, a pupil of W. H. 
Dennett, a favorite vocalist, was pos- 
sessed of a splendid voice, rich, mellow — 
and powerful. She married Alexander — 
Siemens, eminent British engineer, in 
1881 and went with him to reside in 
London. 

John L. Shaw, who afterwards be- — 
came one of the best known bass vo- — 
calists of Portland and one of the long- — 
est in the service in the choirs of that — 
city, sang regularly with his father and — 
mother in the choir of the old Chest- — 
nut Street Methodist Church there. At — 
the age of fifteen he sang alto parts in 
the choir at the Methodist Church on ~ 
the hill at Gorham. q 

Later he joined the Third Parish . 
Choir which, quite properly, came to 
be: called “the Pennell choir,” because 
it was composed of Albert P. Pennell, — 
bass; Charlotte Pennell, alto; Frances 
E. Pennell, soprano; Charles J. Pen- 
nell, bass; George W. Pennell, tenor; 


et ee ee he a hee ee ee eee he 


MUSIC OF THE STATE OF MAINE — 1857-1896 165 


and John L. Shaw, bass. Richard Pen- 
nell was the organist. Mr. Shaw after- 
wards joined the Second Parish Choir 
on Middle Street and, when George A. 
Thomas went to California, succeeded 
him in the choir of the St. Stephen’s 
Church on Pearl Street. In the Pearl 
Street Choir were Boody Churchill, 
tenor; Julia Norton, soprano; Eliza 
Norton, contralto; and Emily Kimball, 
organist. Mrs. Shaw played the organ 
at the Federal Street Church where 
Mr. Shaw sang next, and for a time 
they went together, playing and sing- 
ing in the churches. Mr. Shaw became 
director of music in the Pearl Street 
Universalist Church Choir when at 
that church were singing Harriet Ayers, 
Daniel Chandler and Mary Blanchard. 
When this church was burned in the 
great Portland fire in 1866 Mr. Shaw 
went to the Congress Square Univer- 
salist Church, where he sang for seven- 
teen years. He later joined the First 
Parish Church Choir, which for years 
consisted of Harrjet N. Wetherbee, so- 
prano; Mrs. Charles Norcross, alto; 
_ Samuel Thurston, tenor; and John L. 
Shaw, bass; when Hermann Kotz- 
_ schmar was organist, and here he re- 
mained for twenty-seven years. 

Samuel Thurston, who was promi- 
nently identified with music in Port- 
land from 1850 to 1880, was born in 
Winthrop in 1825. He attended the 
Winthrop schools and the Monmouth 
_ Academy and studied voice with Fred- 
- erick Nicholls Crouch. He sang at the 
_ First Baptist Church on Federal Street, 
and, after two years at the High Street 
Church, he became a member of the 
_ First Parish Church choir where he re- 
mained for thirty years. During his 
_ stay in Portland he was identified with 
many of the musical societies of his 
day — notably the Mozart Club which 
he organized. Mr. Thurston was re- 
_ sponsible for the introduction of mu- 


sic into the public schools of Portland. 
He married Mary Louisa Waters of 
Gorham in 1858. 

He was the author of a manuscript 
which he called “Reminiscences” in 
which there were references to many 
matters of local and musical interest in 
his time. 

Mary L. Thurston, wife of Samuel 
Thurston, was born in Gorham, Maine. 
After studying for a time with Henry 
S. Edwards, and a season in Boston 
under excellent tutors, when about 
twenty years old, she went to Ohio 
where she taught vocal and instrumen- 
tal music in a young women’s semi- 
nary. In 1853 she married Mr. Thurs- 
ton and came to Portland, where she 
became organist in the St. Lawrence 
Street Congregational Church. She was 
an accomplished pianist and acted as 
accompanist for many amateur pro- 
ductions given in the theaters of Port- 
land. During the Civil War she or- 
ganized entertainments and was a 
factor in raising funds for the troops 
of the Union Army. 

John B. Coyle (1841-1898), born in 
Portland, was a great favorite with 
Maine audiences for many years. He 
sang at Dr. Gannett’s Church in Bos- 
ton and afterwards at the State Street 
Church in Portland. His voice was 
basso cantante, rich and full. He was 
a member of the Apollo Club, Boston, 
and the Haydn Association in Portland. 

The Thomas family of Portland was 
an unusually musical one. Edward H. 
Thomas was a flutist of more than or- 
dinary ability. He played the music of 
the best composers remarkably well, 
met and intimately knew all the fa- 
mous flutists of his day, and performed 
with some of the world’s greatest in- 
strumentalists. He used a Rudall-Carte 
(Meyer system) flute which was es- 
pecially constructed for him. The tone 
which he produced was rich and mel- 


| 


HERMANN KOTZSCHMAR, CONDUCTOR OF THE 
HAYDN ASSOCIATION AND FOR NEARLY FIFTY YEARS 
ORGANIST AT THE FIRST PARISH CHURCH, PORT- 
LAND. PHOTO BY LAMSON. 


low. After he lost his sight, in the lat- 
ter part of his life, he frequently sat 
near an open window on the State 
Street side of his home and entertained 
the passers-by with choicest melodies 
from the operas and by his improvisa- 
tions. 

George A. Tlromas was a baritone 
singer of local prominence, a member 
of singing clubs, and a composer. He 
sang for twenty years in the Old Epis- 
copal Church on School Street; later 
at Dr. Dalton’s Church on State Street; 
and in the First Parish Church Choir 
with his sister Elizabeth and his broth- 
er Dr. Charles W. Thomas. Their 
father played the viola. 

Some of the music composed by 
George A. Thomas in the early forties 
and the flute which belonged to Ed- 


MUSIC AND MUSICIANS OF MAINE 


ward Thomas are in the collection of 
music and musical instruments of John 
T. Fagan, Esquire, of Portland. 

“Aunt Charlotte” Thomas, a sister, 
was long known as Portland’s patron 
saint of music. 


Kotzschmar and Marston 


Only the poets, composers and think- 
ers live in the hearts of the people for- 
ever. These are the writers or creators. 
The singer is soon forgotten and recol- 
lections of her pass out of the memory 
of man. In a few short years but a 
handful of people are left who are able 
to tell how she sang, or describe how 
she looked. The teacher may be re- 
membered not at all, but while his 
name may be soonest forgotten, his 
work, his teachings, his ideals and the 
inspiration he has imparted to others 
continue to live after him and are 
passed on to still others, who will teach 


ee ee ee a 


Rie int* 


as he taught and from them, yet again ‘ 


to others, and so on indefinitely; and, 


if he has always placed the welfare of © 


his pupils before the adoration of his 
art, and carried in his soul the worship 
of God, and in his heart the love of 


mankind, he may be sure that a part 4 


of himself, his personality, a bit of his 


soul, in fact, will continue to live in the — 


hearts of new seekers after musical 


knowledge, who come to study with © 


those who have been his pupils and his — 


pupils’ pupils. 
There is no satisfaction that quite 
compares with that which-comes to the 


thoroughly competent and conscien-— 


tious teacher while watching the de- 
velopment of an artistic or creative 


talent in a promising pupil under the ~ 


direction of his guiding hand. 
Two music teachers, neither of whom 


were born in Maine, but whose teach- 


Pr 


hae 


; 
: 


ings have left a vital impress on the 


MUSIC OF THE STATE OF MAINE-— 1857-1896 167 


music students of the State, were Her- 
mann Kotzschmar and George W. 
_ Marston. 


Hermann Kotzschmar 


Hermann Kotzschmar was born in 
_ Finsterwald, a little town in Germany. 
As a child he studied music with his 
father, Gottfried Kotzschmar, who was 
the Stadtmusiker, or town musician, 
and from him he learned to play the 
_ piano, violin, flute, clarinet and horn. 
Finsterwald was not much over fifty 
miles from either Berlin, Leipsic or 
_ Dresden; all, at that time, centers of 
music and art. 
His father chose to send him to the 
latter city to continue his musical edu- 
cation, so when Hermann was yet a 
boy he went to the capital of Saxony, 
where he pursued his studies on the 
_ piano and organ with Hayne, and in 
- composition with Julius Otto. Here he 
became familiar with the fugues of 
_ Bach and mastered the intricacies of 
counterpoint. 
Before he had reached his twentieth 
birthday he had become an excellent 
Pianist and organist and could play 
creditably upon the violin and other 
instruments. He joined the Saxonia 
_ Band, and, with this body of adven- 
_ turous musicians, came to this country 
in 1848. The members of this little 
_ company, not understanding the cus- 
_ toms and language of a new country, 
soon found themselves stranded and 
penniless, and, as the demand for for- 
eign musicians in nearly every com- 
munity in the new world, at that time, 
_ Was exceedingly limited, they separat- 
_ ed into as many different directions as 
_ there had been members of the band. 
Hermann Kotzschmar at first settled 


in Boston. Here he was discovered by 


ces 


a 


_ Cyrus L. Curtis who became much im- 
_ pressed with the young musician’s un- 


usual talent and ability. Through the 
influence of Mr. Curtis he became 
leader of the Union Street Theater Or- 
chestra in Portland. Little did these 
two then know that the lasting friend- 
ship which was to spring up between 
them would eventually become, through 
the son of one of them, one of the 
greatest factors in determining later 
events of far-reaching import in the 
musical life of the city in which they 
were to live and die, and that for many 
generations thereafter thousands of 
music lovers in Portland would be able 
to satisfy freely their desire to hear 
the most beautiful in music. 

The uncultivated musical tastes of 
theater patrons of that day were ap- 
peased only by the performance of the 
most trivial and ordinary music and 
young Kotzschmar was obliged to sub- 
mit to the drudgery of playing over 
and over again cheap refrains that 
found no response in the soul of this 
true musician, but the pressure of dire 
necessity was upon him and in Port- 
land he found his romantic wanderings 
were at an end. 

After two years of dull routine, dur- 
ing which he strove, through constant 
application, to prepare himself for bet- 
ter things, should opportunity offer, 
the efforts of Hermann Kotzschmar 
were rewarded, for at the meeting of 
the Portland Sacred Music Society 
held December 4, 1850, it was voted to 
engage Mr. Kotzschmar as pianist of 
that society for the sum of fifty dollars 
per year. On Sunday evening, March 
16, of the following year, he appeared 
as soloist in what is believed to have 
been his first concert program in Amer- 
ica as organist. His contribution con- 
sisted of two voluntaries, but whether 
they were compositions of the old mas- 
ters or improvisations by the _per- 
former, the record does not state. 

A strong friendship had sprung up 


168 


between Mr. Kotzschmar and some of 
his admirers, who were among the 
members of the Portland Sacred Music 
Society. Three of these were John L. 
Shaw, Samuel Thurston and Mrs. Har- 
riett Wetherbee. In this year (1851) 
Mr. Kotzschmar became organist at 
the First Parish Church, Portland, and 
held that position for forty-seven years. 
During the greater part of this time 
these three, who were, perhaps, during 
that early period, Portland’s most not- 
ed vocalists, sang continuously in this 
church. 

While for more than seven years the 
Board of Government of the Old Port- 
land Sacred Music Society was fighting 
for its very existence, because of its 
inability to procure a vocal conductor 
who could satisfactorily direct the mu- 
sic of the society, and under whom it 
would advantageously progress, it had 
overlooked the one man who could 
have made the society what its mem- 
bers hoped it would become. That Mr. 
Kotzschmar’s high standing as a mu- 
sician was at that time recognized by 
the singers of Portland is evidenced by 
two benefit concerts which were given 
him by the Portland Sacred Music So- 
ciety in 1850 and 1853, but he had al- 
ways been regarded as a piano and 
organ soloist and an accompanist, and 
never once thought of as a conductor. 

On the reorganization of the Haydn 
Association after the Civil War (March 
17, 1869) Mr. Kotzschmar, who had 
been for most of the time since its or- 
ganization accompanist for the chorus 
and leader of its orchestra, became the 
society’s conductor, and from that hour 
was dated a new epoch in the progress 
of music in Portland. 

It is significant that under his di- 
rection this society immediately began 
the serious study of oratorio. The first 
public performance by the Haydn As- 
sociation under Mr. Kotzschmar was 


MUSIC AND MUSICIANS OF MAINE 


the presentation of Haydn’s “Crea- 
tion” at City Hall, Portland, on May 
18, 1869. Soloists from Boston and the 
Germania Orchestra of thirty pieces 
assisted the chorus of three hundred 
voices in the production. It was a great 
event in the musical annals of Maine 
and a triumph for the conductor. 

Under Mr. Kotzschmar’s baton the 
Haydn Association became one of the 
most noted, for performance of ora- 
torio, in the country. 

Mr. Kotzschmar later became con- 
ductor of the Weber Club, the Phil- 
harmonic Orchestra and the Orchestral 
Union in Portland, and directed choral 
societies in Gardiner, Lewiston and 
Brunswick. He appeared as soloist at 
the annual music festivals of the Pe- 
nobscot Musical Association of Bangor 
and at musical conventions at other 
cities in Maine. 

On December 16, 1872, he married 
Mary A. Torrey, a native of Sacra- 
mento, who then resided in Portland, 
where she was attending a private 
school for girls. 


In 1898 Mr. Kotzschmar became or- | 


ganist at the State Street Congrega- 
tional Church where he served in that 
capacity for about five years. In 1903, 


from Bowdoin College, he received the — 


honorary degree of Master of Arts, and 


in 1905, from Eberhardt College, that — 


of Doctor of Music. He was a charter 
member of the Kotzschmar Club, and 
its first, and up to the time of his death, 
its only president. 


ee ee ee 


"es alte Mei dens 


ee he 


Par Cee 


His “Te Deum in F” has been sung © 
in nearly every church of importance © 
in the country and his writings show — 
a carefulness of detail and a thorough © 


understanding of harmony and coun- — 


terpoint that entitle them tothe respect 
of musical critics. 


Hermann Kotzschmar’s published pi- — 


ano compositions are as follows: “Trois 
Mazurkas,” “Arcturus,” “Aurora Bo- 


( 
E 
= 


ey ae ee, 


ee Se 


realis,” “Barcarolle,”’ “Romance,” “Ca- 
rola,” Dance: “As You Like It,” “Fair- 
ies’ Evening Song,” “Lullaby,” “Esprit 
d’ Amerique,” and eight lesser dance 
pieces. His songs are: “The First 
Prayer,” “Immortality of Love,” “Yan- 
kee Girls,’ “When Will Ye Think of 
Me, My Friends?” and “Barcarolle” 
(male quartet), and his anthems are, 
“Te Deum in F,” “Deus Miseratur,” 
“Rejoice in the Lord,” “Benedictus,” 
“Lord, O Lord,” “When Death is Com- 
ing Near,” “Slowly By God’s Hand 
Unfurled,”’ “Angels Roll the Rock 
Away,” “Angel Voices Sweetly Sing- 
ing,” “Christmas Bells,” “On This Glo- 
rious Christmas Morn,” and “Christ is 
& Risen.” 

Mr. Kotzschmar’s unpublished com- 
positions include two movements for 
string orchestra, performed at the 
Maine Music Festival in 1897; a cho- 
rus for women’s voices, written for the 
Portland Rossini Club and performed 
_ by them; many of the hymns used at 
_ the vesper services of the First Parish 
Church; and a few songs and piano 
pieces. His earliest composition (marked 
by himself Op.1) is a brilliant piano 
solo entitled, “Souvenir de Finster- 
~ wald.” 

Mr. Kotzschmar was one of the most 
picturesque musicians who ever lived 
~ in Maine. His was a wandering nature, 
__ yet he was possessed of that tenacity 
_ of purpose which characterizes the Ger- 
man people. 

_ As a conductor of oratorio few 
_ equalled and it is believed that none 
excelled him. 

After Mr. Kotzschmar’s death his 
__ body was cremated and one year later 
_ the cinerary urn which holds his ashes 
_ was placed in a hollow niche that had 
_ been chiselled out of the solid granite 
_ wall of masonry in the First Parish 
_ Meeting House, where his music had been 
heard and admired for so many years. 


ef: wo peadyiom 


ie cl oe a al el ha ae i co a ey 


Va ae 


_ MUSIC OF THE STATE OF MAINE— 1857-1896 169 


GEORGE W. MARSTON OF PORTLAND, -TEACHER, 
ORGANIST AND COMPOSER OF CHURCH MUSIC, 
WHOSE ANTHEMS HAVE BEEN SUNG THE WORLD 
OVER. PHOTO BY CHICKERING, BOSTON. 


The magnificent Kotzschmar organ 
in the City Hall in Portland stands as 
a memorial to this great musician, 
whose bust in bronze adorns the cen- 
tral niche in its ornamental facade, 
while a manuscript of this much be- 
loved composer and his baton are en- 
cased in glass within the bronze tablet 
which bears this inscription: “In Mem- 
ory of Hermann Kotzschmar. For more 
than fifty years pre-eminent as Organ- 
ist, Composer and Teacher. Born Fin- 
sterwald, Germany, July 4, 1829. Died, 
Portland, Maine, April 15, 1908. Gift 
ob Cyrus fk Curtis< 


George W. Marston 


George W. Marston, composer, and 
for many years a music teacher of 
prominence in Portland, was born in 


170 MUSIC AND MUSICIANS OF MAINE 


Sandwich, Mass., May 23, 1840. On 
his mother’s side he was directly de- 
scended from the John Howland, who 
came to Plymouth with Governor Car- 
ver in the Mayflower. His father, Wil- 
liam Marston, was an Englishman who 
came to America when he was a young 
man and completed his education here. 
His maternal grandfather is said to 
have had a “tenor voice of great beauty 
and power.” As a boy George W. 
Marston sang alto in the church in 
Sandwich which his parents attended. 
When twelve years of age he began 
studying piano with a local teacher, 
and at sixteen he became organist at 
the First Congregational Church of 
Sandwich. When he had completed his 
studies in the high school and the acad- 
emy in the town of his birth he went 
to Waterville where he taught piano 
and played the organ at the First Bap- 
tist Church. After about a year in Wa- 
terville he decided to go to Portland 
which seemed to offer greater oppor- 
tunity for advancement in the study of 
piano and organ, and here he studied 
with John W. Tufts and John Knowles 
Paine. 

He began composing music when 
very young and his first composition 
to attract attention from the musical 
public was in ballad form, “Across the 
Far Blue Hills, Marie.” It was very 
successful and was soon followed by 
“Marguerite” and his “Could ye Come 
Back to Me Douglas.” Mrs. Craik’s 
poem has had many musical settings 
but the author declared that Marston’s 
was her favorite one. This song was 
afterwards arranged for male quartette 
and in this form proved especially 
popular. 

In 1870 Mr. Marston went to Eu- 
rope where he studied for a time with 
Guisseppi Buonamici. During this per- 
iod he practiced six hours a day and 
studied all of the Beethoven Sonatas. 


In the winter of 1874-75 he went to 4 


Germany and took up the study of - 
composition with Joachim Raff. After 
his musical course in Europe there was 
observed a notable change in the style — 
of his compositions. He gave more at- — 
tention to the elaboration of his ac-- 
companiments, and his work exhibited — 
an enlarged conception of the possibili- 
ties of both harmony and counterpoint. 
Three of his songs, published by Ira 
Stockbridge of Portland in 1876, were 
“Tender and True,” words by Miss ~ 
Muloch; “The Sea Gull,” words by — 
Florence Percy; and “To One In Par- 
ticular,” words by Edgar Allen Poe. 
Mr. Marston exercised a discrim- 
inating taste in the choice of words for — 
his songs and selected lyrics for his — 
musical settings from the gems of the 


literature of his day. A critic, com- 


menting on this, observed, “One of — 
these days, when Mr. G. W. Marston’s — 
exquisite songs are collected, there will — 
be formed in one charming volume the 


finest poems in the English language, 
set to music which shows in every 


phrase the most delicate appreciation 
of the well chosen words.” 


Among his important works are in- _ 
cluded, two books of German “Lieder,” _ 


a book of English songs entitled, % 
“Grave and Gay,” 
cantata, “David.” On May 29, 1895, 


his cantata was sung in Kotzschmar — 


Hall, Portland, by the Haydn Associa- — 


tion under Mr. Kotzschmar’s direction. — 
Although Mr. Marston was himself a — 


brilliant performer, his was such a 


modest and retiring disposition that he — 


chose to sit quietly in the audience — 
rather than take an active part in the — 
program. At the end of the first part © 


the cry of “Marston” was heard in — 


several parts of the hall, and, the en- — 
thusiasm increasing, he was finally 
obliged to rise and acknowledge this — 
tribute, to which he graciously re- 


and a dramatic 


MUSIC OF THE STATE OF MAIN E~— 1857-1896 171 


sponded. The soloists on this occasion 

were Mrs. John W. Bowers, Henrietta 

Rice, Herbert W. Barnard and Frank 

_ dH. Pierce. Harvey Murray was the 
pianist. 

_ Mr. Marston’s productive years were 
all spent in Portland, and while in 
that city he was organist at St. Luke’s 
Episcopal, Congress Square Univer- 
salist and State Street Congregational 
Churches, successively. 

As a teacher of musical interpreta- 
tion Mr. Marston had no superior and 
among his pupils are numbered not a 
few who attained high places in music 

in America. For more than twenty 

_ years no serious student in Western 

_ Maine felt that he had received the 

_ best obtainable in musical instruction 

unless included in his curriculum had 

_ been a term or more of lessons in pi- 

ano, organ and harmony under one of 

 Portland’s two great music teachers, 

Hermann Kotzschmar or George W. 

_ Marston. 

His death occurred at the home of 

his sister, Caroline Crocker, in Sand- 

wich, Massachusetts, on February 2, 

. 1901. After his demise the Kotzschmar 
_ and Marston Clubs of Portland united 

_ in a memorial meeting which was held 

in Franklin Hall in the Baxter Build- 

__ ing when they gave a musical program 

_ which consisted entirely of Mr. Mars- 

_ ton’s songs. 

He was for years an honorary mem- 

_ ber of the Portland Rossini Club. 

_ Arthur P. Schmidt, the publisher of 

“most of Mr. Marston’s music, solicited 

the opportunity to publish his works 

_ abroad. Two sets of his songs were 

a B published ; in Leipsic with both German 

i and English words. In fact this firm 

_ came to publish, with the exception of 

"a very few numbers, all that Mr. 

2 ~ Marston wrote. 

4 _ Mr. Marston composed more than 

a Braree score of beautiful piano pieces 


i Sst ap 


Pi 


and about an equal number of lovely 
songs, some of which were of a secular 
and some of a religious tone, but it was 
in his church music that he is best 
known, for his anthems and responses 
have both heart and spirit appeal. 

His was a deeply religious nature 
which inspired him to write for the 
churches music that struck a sympa- 
thetic chord in the hearts of the people. 
His sacred pieces are all very melodi- 
ous and show a thorough knowledge of 
harmony and composition and the 
range of the human voice in all the 
singing parts. In nearly all his church 
music there seems to be an undercur- 
rent of sadness which is difficult for 
those who knew him to understand, 
for his was such a genial nature that 
he gave no outward evidence of the 
depth of feeling that was in his inmost 
heart. 

His song accompaniments are nearly 
always distinctive, yet unobtrusive. His 
style could be exquisitely delightful, 
profoundly somber, or quaintly simple 
as he chose, yet all his compositions 
are replete with richest harmonies and 
embodied great depth of feeling. 

His anthems are still widely sung in 
America and Europe. Some of them 
will endure as long as the hearts of 
men continue to reach out after the 
things that are of the best in life. 

Historians of music have devoted too 
little space to this composer whose 
writings include some of the loveliest 
phrases to be found in American music. 

Kotzschmar and Marston: Maine 
owes a debt of gratitude to these two 
who spent the best years of their lives 
in Portland and taught interpretation 
of the classics in music to hundreds of 
aspiring students throughout the State. 
They laid the foundations upon which 
succeeding generations of Maine teach- 
ers have built their success as educa- 
tors in music. Who shall say that their 


172 MUSIC AND MUSICIANS OF MAINE 


influence will not be felt for genera- 
tions and perhaps for centuries yet to 
come. 

Maine has not only produced great 
vocal artists, but, within her bound- 
aries, have dwelt music teachers who 
have been instrumental in bringing out 
other great singers who became world 
famous. Among these architects of 
vocal structure, who were either resi- 
dents or natives of Maine, should be 
mentioned Clara E. Munger, long a 
resident of Portland, who started Em- 
ma Eames on her notable career; Mrs. 
J. H. Long, also sometime a resident 
of the same city, to whose early teach- 
ings Geraldine Farrar acknowledges 
that she owes, more than to any other, 
her success aS an Operatic star; and 
Sarah Robinson Duff, a native of Ban- 
gor, who gave to Mary Garden the 
educational start that put her on the 
road to musical fame and success. 

Clara E. Munger, born in Portland 
in 1850, began her work as a teacher 
at nineteen. She studied with W. H. 
Dennett and later with Clara Scott. 
After a season under the best teachers 
in Chicago, she went to Paris where 
she studied with Madame La Grange 
and Delle Sadie. From Paris she went 
to London and Germany where she 
completed her musical education. She 
taught, first in Portland and later in 
Chicago, but the larger part of her 
career was spent in Boston where she 
came to be ranked as one of the city’s 
best vocal teachers. She counted many 
fine singers among her pupils. 

Mrs. J. H. Long, born in Lyme, N. 
H., taught in Portland for a number of 
years and afterwards in Chicago and 
Boston. She studied with Lamperte in 
Milan and became, also, a noted teach- 
er of the voice. She was a concert and 
oratorio artist, and sang in the Church 
of the Unity in Boston, and in the 
Meeting House Hill Quartette in Dor- 


chester and appeared in the concerts of 
the Handel and Haydn Society in Bos- 
ton. Besides Miss Farrar, she num- 
bered other celebrated singers among 
her pupils, notably, Elvira Leveroue 
and Janet Spencer. 

A sketch of Sarah Robinson Duff 
will be found on another page in this 
volume. 

Among those who were music teach- 
ers in Portland from 1856 to 1870 were — 
William H. Dennett, W. W. Davis and © 
W. L. Fitch, who also conducted sing- — 
ing schools; May Beasley Clark, H. S. — 
Murray, M. C. Milliken, S. D. Rum- 
ery, teachers of piano; Anna L. Davis, © 
Frank Burnham and Charles Grim-— 
mer, teachers of violin; Nettie A. Fel- 
lows, Mrs. Wentworth Stevenson, Fran-_ 
ces M. Hawes, vocal teachers; and — 
Prof. A. J. Amon, graduate of the Mu- — 
sic College of Vienna, whotaught piano — 
and guitar. ; 

In 1857 Ballou’s Singing School was 
holding sessions at the old wooden 
Post Office Building in Portland, on 
Federal Street. Mr. Ballou developed — 
a large class of singers (all ladies) and 
gave several concerts. His was the first — 
women’s chorus to be organized in the - 
State. E 

William Henry Dennett was for 
years considered the greatest teacher 
of voice in Maine. Many of the best 
singers in the State were among those 
who studied with him when he was 
teaching in Portland. He studied abroad — 
six: years and afterwards toured the 
country with Parodi and then with 
Biscaccianti. At his death he left a 
legacy of one thousand dollars to the 
Rossini Club of Portland. ; 

Melville Cox Milliken, who was suc-_ 
cessively organist at the Winthrop 
Street Universalist Church at Augusta, 
Pine Street, Portland, and at churches” 
in Unity, Maine, and Worcester, 
Mass., was, for years, a teacher of 


& 


Ee eT ee 


Beit HS 


* MUSIC OF THE STATE OF MAINE— 1857-1896 173 


piano and organ in Portland, his native 
city. He was the son of James Race 
and Susan Cressey (Bradbury) Milli- 
ken. In 1853 he married Evelyn Kim- 
ball. He was an authority on musical 
_ matters in Augusta and Bangor for the 
years 1866 to 1875 inclusive. Among 
_ his compositions are “Rejoice Greatly, 
O Daughter of Zion” and “Abide with 
Me.” His daughter, Nettie Milliken 
Fellows, for many years a prominent 
soloist in Portland church choirs, was 
much admired for her bird-like soprano 
_ voice. 
_ Frances M. Hawes, a successful vo- 
cal teacher, soprano soloist and concert 
artist in Portland, was a daughter of 
Daniel H. and Mary Ann Chandler 
and married Cornelius K. Hawes 
(1873). She studied music under Wil- 
liam H. Dennett and afterwards under 
Rudersdoff of Boston. She had a large 
class of pupils. 
_ Mrs. Henry Chase, née Emily Chee- 
ver Pitts (1839), daughter of James 
Cox and Mary Fenno Pitts, was a 
_ well-known teacher of piano and organ 
in Augusta and officiated as organist 
in all the churches in that city. She 
was also a fine contralto soloist. She 
: studied music with private teachers 
in Augusta and Boston and comvosed 
J a number of works for the organ (all 
in manuscript). 
“4 No madder prank was ever played 
on the people of Portland than that 
: _ planned and executed by the late Cap- 
tain Benjamin J. Willard, jester ex- 
¢ sordinary, on July 4, 1874. 
Because the City Government of 
Portland had refused to provide its 
usual appropriation for a celebration 
_ on Independence Day in that year, he, 
o and a few of his closest friends, de- 
ebrmined that the citizens of Portland 
_ should have some fun on the Fourth of 
_ July and they were willing to pay for 
Git 


E 


os 


> 
S 
4 
- 


WILLIAM HENRY DENNETT OF PORTLAND, FOR 
MANY YEARS CONSIDERED THE GREATEST VOCAL 
TEACHER IN MAINE. 


In the evening and morning papers, 
“the day before,” appeared the an- 
nouncement that a number of citizens 
had, by private subscription, “hired a 
fine band from Boston composed of the 
best Italian and German talent” to 
play all day in Lincoln Park. 

Those who went to the park to hear 
the band were astonished to find eleven 
hand-organ grinders, with their in- 
struments, grouped in such a manner 
around the fountain in the center of 
the park that their tunes might be “per- 
mitted to mix.” From seven A.M. until 
noon and from one in the afternoon 
until six, without intermission, these 

“musicians,” who were not allowed to 
accept any money from the public, 
stood, “playing away for dear life,” 


174 MUSIC AND MUSICIANS OF MAINE 2 


THOMAS E. GLYNN (“TOMMY GLYNN’) OF PORT- 
LAND, ACCLAIMED JUST BEFORE HIS DEATH AS THE 
WORLD’S GREATEST BAN JOIST. 


while the tunes from all the instru- 
ments mingled together in a veritable 
Babel of Music, and thus they played 
until the Angelus pealed from the Ca- 
thedral tower nearby, when 
“The music all” was “ground, 
And silence, like a poultice” came 
“To heal the blows of sound.” 
Seriously inclined musicians are apt 
to regard the blatant banjo and the 
humble harmonica and the frivolous 
fiddle with something a little short of 
contempt and it would, perhaps, ap- 
pear to be a departure from the original 
purpose of this volume to include in it 
reference to those whose only claim to 
musical recognition is from perform- 
ances on such trivial instruments. Yet, 


if one plays the banjo so well that he is 
heralded as the greatest in his country, — 
or if he executes difficult selections on — 
the harmonica in such a manner that — 
none are able to surpass him, or if he ~ 
fiddles his way into the hearts of the 
people so that he is acclaimed on all 
sides as the greatest fiddler in the © 
world, he merits more than passing — 
mention, and his art is entitled to the © 
respect of all musicians. | 

The fiddle in the hands of a master 
becomes a violin. The banjo and har- — 
monica may not rise to such heights; — 
yet since the twentieth century began 
the banjo has come to be considered as — 
an instrument that may yet finda place — 
in the great symphony orchestras of — 
the world, while the harmonica has not — 
only been taught in a number of the 
public schools in the country, and har- 
monica playing contests among school — 
boys have been encouraged in order to — 
arouse an interest in them in the study 
of music, but concerts have been given ~ 
by boys’ harmonica bands under the — 
leadership of school music supervisors — 
in some of the larger cities of America, — 
notable among which was the one given ~ 
by the “Philadelphia Wizards” at the — 
National Federation of Music Clubs’ — 
Convention held at Chicago in April, © 
1927. . 

Thomas E. Glynn (1872-1897), or, 
as he was better known professionally, — 
“Tommy Glynn,” declared by vaude- — 
villians of his day the greatest banjoist — 
in the world, was born in Portland, — 
Maine. He learned to play on an old — 
and battered wooden rimmed instru- — 
ment which had but one string. Later, — 
when he was able to procure a better 
banjo, he developed his talent and be- 
came the solo attraction in concerts — 
with the Imperial Mandolin and Gui- 
tar Club of Portland. It was not long — 


before he was appearing in Keith’s 
Theater in Boston, New York and ~ 


h 


MUSIC OF THE STATE OF MAINE-— 1857-1896 175 


Providence, and he became widely 
sought by vaudeville and concert man- 
agers. The most difficult overture had 
_ no terrors for him. Audiences went 
_ wild with enthusiasm over his playing 
and in a Jubilee competition he won a 
three hundred dollar Stuart banjo. So 
skilfull was he that musicians became 
interested in him and the Temple Quar- 
tette of Boston offered him the finest 
musical education that the country of- 
fered if he would abandon the banjo 
and take up the study of some other 
instrument, but he realized his limita- 
tions and believed that on no other in- 
strument could he ever hope to attain 
to the immense success and popularity 
which the banjo had given him. 
His musical compositions, which are 
resplendent with intriguing harmonic 
_ changes, are among the most difficult 
_ banjo pieces written. 
Tommy Glynn was more than a tal- 
ented performer on the banjo, he was 
a genius. 

When but twenty-five years of age 
he became ill of a fever and died in 
Cambridge, Massachusetts. In his last 
hours, realizing that death was at hand, 
he called for pencil and paper that he 
might compose a funeral march for his 
_ beloved banjo. 

Charles Farrell, a Portland boy, was 
_ the first to introduce harmonica play- 
ing into Boston vaudeville, or, as it was 
_ then called, “Variety Show.” 

He played in many concerts through- 
_ out New England, and his perform- 
ances on that instrument have never 
_ been excelled. He died when less than 
_ thirty years of age. 

Of Mellie. Dunham, who brought 
_ a greater amount of publicity to Maine 
_ than any other musician in a quarter 
_ of a century of time, more will be 
_ found on another page. 

Slight as may have been their claim 
_ to be numbered among the immortals 


A. M. DUNHAM (“MELLIE DUNHAM”) OF NOR- 
WAY, MAINE, WHOSE FIDDLING CAPTURED THOU- 
SANDS OF HEARTS WHILE TOURING ON THE KEITH 
CIRCUIT IN THE WINTER OF 1925-1926. 


in music, each excelled in his chosen 
profession, and though they may not 
have contributed in as great a measure 
as some to Maine’s fame as a musical 
state, still Pine Tree folk are apt to be 
rather proud of the fact that Maine 
was the State that produced Charlie 
Farrell, Tommy Glynn and Mellie 
Dunham. 

Grace Hiltz, a talented soprano, was 
born near Portland about 1854. She 
received her early education at Provi- 
dence, R. I., and in 1872 went to Chi- 
cago to study singing under Sara Her- 
shey-Eddy. In 1876 she was in Boston 
where she studied for two years with 
George L. Osgood, Charles R. Adams, 
Julius Jordan and Georg Henschel, 


FREDERIC S. DAVENPORT, EARLY MUSIC TEACHER 
AND CONDUCTOR OF THE HANDEL ASSOCIATION OF 
BANGOR. FROM A PHOTOGRAPH MADE IN 1864. 


and meanwhile she filled concert en- 
gagements, singing in the Union Con- 
gregational Church at Providence, R. 
I., where she received a salary of $1,000 
a year, a large stipend in those days. 
She was soprano soloist in Verdi’s “Re- 
quiem” at the Worcester festival and 
soon after returned to Europe to com- 
plete her studies with Mme. Viardot- 
Garcia, Mme. La Grange and Signor 
Sbriglia at Paris. She sang in public 
in Europe several times and met with 
a favorable reception on the continent 
and in London. She was soloist at the 
second Heimendahl Symphony Concert 
at Chicago in 1882. Her voice was a 


rich, pure soprano and she was for a 
number of years one of the great fa- 
vorites as a concert singer both in 
America and Europe. 


Mr. Davenport's Chorus 


Frederic S. Davenport (1839-1924) 
was born in Boston. He studied piano 
and organ with John W. Tufts and in 
1852 moved from Boston to Bangor 
where he became well known as an 
organist and leader in music in Penob- 
scot County. 

Several years before the Penobscot 
Musical Society had finished its labors 
a local chorus was organized in Ban- 
gor by Mr. Davenport, who gave six 
music festivals on his own account in 
the Queen City. During this time he 
also held a Music Convention in Lew- 
iston. Among the soloists at his con- 
certs at Searsport was the celebrated 
Flora Barry. 

In 1917 he gave up his work in mu- 
sic to go into the mercantile business. 

Mr. Davenport collaborated with So- 
lon Wilder in the publication of a song 
book, “The Praise of Zion, a Collection 
of Music for Singing Schools, Choirs 
and Musical Conventions,” and he 
brought the first grand opera to Ban- 
gor. 


The Handel Association of Bangor 


The Handel Association of Bangor, 
Maine, organized October 7, 1873, by 
Willard Patten, was a prominent mu- 
sical society for a time. 

The officers of the society in 1874 © 
were: John E. Godfrey, President; F. 
M. Laughton, Vice President; W. E. 
Brown, Secretary; George W. E. Bar- 
rows, Treasurer; J. M. Sullivan, Libra- 
rian; F. §. Davenport, Conductor; 
Mrs. F. S. Davenport, Pianist; and the 
Councillors were, George W. Merrill, — 
J. A. Crowell, Mrs. H. L. Jewell, Mrs. 
N. E. Bragg, and M. H. Andrews. | 


MUSIC OF THE STATE OF MAINE — 1857-1896 177 


John Edwards Godfrey (1809-1884), 
first President of the Handel Associa- 
tion, was an excellent baritone singer. 
He was born at Hampden, Maine, the 
son of John and Sophia Dutton God- 
frey. He first married Angela Stack- 
pole, and after her death, Laura 
Schwartz. He was a member of the 
Hammond Street Church Choir, an of- 
ficer in the Penobscot Bar Association, 
President of the Penobscot Musical 
Association for three years and Presi- 
dent of the Bangor Choral Society. He 
practiced law in Bangor for many 
years, during which time he did much 
research work relating to early Maine 
history. | 

The Handel Association continued in 
existence during practically the whole 
period in which the Penobscot Society 
was functioning. Among those who 
served as officers of the old Handel As- 
sociation were: 

Presidents: John E. Godfrey, Moody 
Stickney, James C. Weston, G. W. 
Merrill and George Farrington. 

Conductors: Mr. Wichtendahl, James 
Whitney, H. K. White and F. S. Dav- 
enport. 

Pianists: Mrs. H. L. Jewell, May 
Lincoln and Mrs. F. S. Davenport. 

Oratorios and other numbers per- 
formed were, “Samson,” “Elijah,” 
“Moses in Egypt,” “Creation,” “The 
42nd Psalm,” Saint-Saén’s “Christmas 
Oratorio,” Haydn’s “Third Mass,” But- 
terfield’s cantata “Belshazza” and the 
Boosey “Collection of Glees.” 

The music committee, consisting of 
Mrs. J. A. Crowell, Mrs. George Web- 
ster, Mrs. W. F. Shaw, Mrs. W. H. 
Gardiner, G. S. Farrington and G. T. 
Moody, served nearly all the years of 
the society’s existence. 

On March 1, 1877, the society pre- 
sented Haydn’s “Creation” when an 
audience numbering three hundred and 
forty people were present. It was said 


JOHN E. GODFREY, FIRST PRESIDENT OF THE HAN- 
DEL ASSOCIATION OF BANGOR (1873). 


to be the first time, for a period of 
more than twenty-five years, that such 
a work had been given in its entirety in 
Bangor without the aid of “talent from 
abroad.” 

Among the prominent soloists of the 
Handel Association of Bangor were 
Mrs. W. F. Shaw, Mrs. J. A. Crowell, 
Mrs. E. T. Wasgatt, James H. Hayes 
and Harriet Shaw, who was referred 
to as “a bright star” in the accounts of 
her appearance in the concerts given 
by the society. All the oratorios were 
studied under Frederic S. Davenport. 


Cecilia Club of Bangor 


While H. K. White was directing the 
Old Handel Association of Bangor in 
1883 he prepared and gave three per- 
formances of Sullivan’s opera, ‘“Pa- 
tience.” 

Principals in the cast were Annie 


178 


MUSIC AND MUSICIANS OF MAINE 


WILLARD PATTON OF BANGOR, WHOSE ORATORIO, 
“ISAIAH,” RECEIVED MORE THAN SIXTY PRESENTA- 
TIONS. 


Sweet, Miriam Robinson, Carrie Hodg- 
don, Jennie Sellers, May Ross, L. F. 
Brine, C. R. Maynard, D. H. Jepson, 
R. S. Dow, George E. Boyd and George 
O. Hall. The instrumental music was 
performed by Andrew’s Orchestra, with 
Abbie Garland at the piano. 

The enthusiasm over the success of 
the production of the opera was so 
great that the singers decided to form 
themselves into a society. This was the 
beginning of the Cecilia Club of Ban- 
gor. F. M. Laughton was the first 
President; Richard §. Dow was the 
Vice President; Fred D. Lincoln, Sec- 
retary; and Joseph M. Bright, Treas- 
urer. Abbie Garland was the pianist 
and held this position throughout the 
entire life of the club. 

During the seven years of its ex- 
istence it gave a number of concerts, 
but presented only two oratorios, the 
“Creation” and Gounod’s “Redemp- 
tion.” 

The first concert, given in Novem- 


ber, 1883, was of a miscellaneous char- 
acter. The chorus numbered at that 
time one hundred and fifteen voices 
and did some very effective work. 

Among the soloists of the Cecilia 
concerts were Mrs. J. A. Crowell, Mrs. 
Edward Roberts, Annie Sweet, Mrs. 
E. T. Wasgatt, Mrs. J. M. Bright, 
Annie Semple (Mrs. Willard L. Bragg), 
Annie Hurley, Carrie W. Leavitt, then 
a favorite soprano of Bangor, Alice 
Bucknam, Alma Haynes, Mrs. W. F. 
Shaw, Dora Wiley, Mrs. W. A. Nelson, 
Frances Mason, Mrs. Annie Wasgatt, 
Grace A. Vinal, of Orono, George Boyd, 
Fred D. Lincoln, Allan Ray, Byron 
Roberts, G. T. Moody, W. A. Palmer 
and John H. Dole. 

Clarence L. Dakin, who succeeded 
Mr. Laughton as President, was an en- 
thusiastic worker for the society and 
was then called the head “of the musi- 
cal associations of Maine.” 

Among the soloists that assisted the 
club at its concerts were E. C. Adams, 
a brilliant cornetist; Fred W. Adams, 
a clarinetist, who studied with R. B. 
Hall; Samuel H. Broadman, the di- 
rector, who appeared as flute soloist 
on one occasion, and at that time said 
to be by Bangor people the best flute 


player east of Boston; and F. §. Hun- 


newell and Mae Silsby, organists. 

H. K. White, J. C. Bartlett, Clarence 
Marshall and M. H. Andrews were 
successively musical directors of the 
Cecilia Club of Bangor. 

Willard Patton, who before he left 
Bangor spelled his name Patten, found- 
er of the Handel Association of Ban- 
gor, was born in Milford, Maine. He 
was a teacher of voice culture in Min- 
neapolis for many years. He organized 
the Cecilia Club of Bangor, 1883; was 
a member of the Penobscot Quartette 
and sang in several church choirs. From 
1883 to 1890 he appeared in many con- 
certs throughout the Northwest, and or- 


AG LRT OE NBO CRS HOC Pid gh cee eee? 


ah 


MUSIC OF THE STATE OF MAINE— 1857-1896 


ganized and conducted the Philharmon- 

*ic Club of Minneapolis. Among his com- 
positions was his oratorio, “Isaiah,” 
which had more than sixty presenta- 
tions, including a silver jubilee produc- 
tion in 1920. Other compositions were 
his grand opera, “Pocahontas,” light 
Opera, “La Fianza,” musical epics, 
“Star of Empire” and ‘“Footstones of 
a Nation,” cantatas, ““The Atonement” 
and “Usona.” He also composed a 
“Symphonic Fantasy” and numerous 
songs. His orchestral works were played 
by the Theodore Thomas’ and the 
Minneapolis Symphony Orchestras. He 
was twice President of the Minnesota 
Musical ‘Teachers’ Association and 
chairman of its examining board and 
President of the Civic Music League 
of Minneapolis. He was popularly 
known as the Dean of Minnesota 
composers. 


The Bangor Conservatory of Music 


The Bangor Conservatory of Music 
was incorporated February 18, 1868. 
The corporators were Hon. Hannibal 
Hamlin, Rev. Daniel Goodwin, Moody 
T. Stickney, Esq., Hon. A. D. Manson, 
Moses Giddings, 'T. G. Stickney, Hon. 
Samuel H. Dale, Rev. A. K. P. Small, 
ove, ft, ray, i. H: Foge, W. H. 
Dennett, Hon. G. K. Jewett, Thos. N. 
Beery eney..(..C. Everett, Dr. L. 
Chase, Hon. A. G. Wakefield, J. S. 
Wheelwright, John H. Lynde, John S. 
Patten, I.S. Johnson, Michael Schwartz, 
Gen. Samuel F. Hersey, Rev. G. W. 
Field, J. P. Greeley, Rev. A. Battles, 
Sydney Thaxter, Dr. A. C. Hamlin, 
Burleigh Pease and F. F. French. 
Charles W. Shannon and John Hoyt 
were the Executive Committee. 

Its Board of Instruction consisted of 
John Hoyt, teacher of piano, cultiva- 
tion and formation of voice, notation, 
English and Italian singing, and sing- 


179 


ing at sight; Charles W. Shannon, 
teacher of piano, organ, notation, har- 
mony, counterpoint and composition, 
with reference to musical form and in- 
strumentation; and John D. Conley, 
A. D. Harlow and M. H. Andrews, 
teachers of orchestral instruments. 

The object of this institution, as 
stated, was “‘to furnish a solid Musical 
Education, in all its branches, practical 
and theoretical, to those intending to 
fit themselves for the profession, either 
as Artistes or Teachers.” 

A smaller organization in Bangor 
during this period was the Apollo Quar- 
tette which became very popular. It 
appeared in concerts in a number of 
Maine cities. Asa C. Morton was the 
leader and its other members were W. 
A. Palmer, Walter Gordon and Willis 
Bunker. At one time Allan Ray and 
George Moody were members of this 
quartette. 

Among other quartette and quintette 
clubs in Bangor at this time were the 
Banjo and Guitar Club, which con- 
sisted of Mae Silsby, Lillian E. Silsby, 
Nellie A. Friend, George S. Silsby, and 
George E. Kempston; and a horn quar- 
tette composed of Edward C. Adams, 
Charles B. Dickey, F. D. Lincoln and 
James McNulty. 

The first organist of St. John’s Epis- 
copal Church, Bangor, was W. S. K. 
Howard, who was appointed in 1841. 
He was followed by J. W. Tufts, who 
afterwards became organist at King’s 
Chapel, Boston, where he played for 
more than forty years. 

Among those who have, at different 
times, been organists in this church 
were, Mrs. G. W. Merrill, Mrs. F. S. 
Davenport, Mrs. J. B. Ayer, Abbie N. 
Garland, Abbie Dyer, Agnes Moody, 
Fred C. Jones, Hannah Wiggin, George 
E. Boyd, and Ella Merrill. George 
W. Merrill for twenty-five years do- 
nated his services as leader of the 


180 


choir of the St. John’s Episcopal 
Church. 

Nearly all of the best singers of Ban- 
gor began their choir work in this 
church, from which fact, it was often 
said, that “the Episcopal Church was 
a training school for organists and 
singers.” 

Up to 1872 the music was furnished 
by quartette choirs. Some of the mem- 
bers were Mrs. Nettie Gratian Maling, 
Mrs. J. A. Crowell, Annie Holbrook, 
Mrs. George M. Brown, A. C. Morton, 
George T. Moody, Grace Ross Buck, 
May Ross Strickland, Minnie Brown 
and Helen Jackman. 

After 1872 leaders of the boys’ 
choirs during this period were John H. 
Davis, Francis H. Clergue, Leslie W. 
Cutter, Frank L. Crowell and Herbert 
Sellers. Ralph Gardner is remembered 
as one of the best boy singers in this 
choir. 

The Hammond Street Congregation- 
al Church has always been noted for 
its excellent music. One of its most 
notable quartettes (1874) was made 
up of Dora H. Wiley, soprano; Mrs. 
E. T. Wasgatt, contralto; Edward E. 
Holden, tenor; William K. A. Pills- 
bury, bass; and Sarah C. Berry, organ- 
1st. 

The singers at the Unitarian Church, 
Bangor, in 1860 were Mrs. Jason A. 
Crowell, John Holbrook and Mrs. E. 
T. Wasgatt. F. S. Davenport was or- 
ganist. 

The funds for the organ in the Uni- 
versalist Church, Bangor, were pro- 
vided in 1860 by the City Engine Co. 
No. 4, the majority of the members of 
which belonged ito the Universalist 
society. 

In order to procure this organ for 
their church they appropriated for that 
purpose one thousand dollars which 
was all the pay to which they were en- 
titled for an entire year. The choir con- 


MUSIC AND MUSICIANS OF MAINE 


sisted at this time of Willard Patten, 
tenor and chorister, Mrs. W. F. Shaw, 
Jennie Sellers and Byron Roberts. 
Mary Cutter was organist. 

In 1884 the choir consisted of Carrie 
Hodgdon, Mrs. W. H. Sawtelle, J. H. 
Haynes and Byron Roberts, with Mrs. 
F. S. Davenport as organist. Mrs. 
Davenport served four years and was 
succeeded by Mrs. Frank L. Tuck who 
resigned the position later to Mrs. E. 
E. Peck. 

For a number of years, J. H. Haynes 
served as chorister, tenor and Sunday 
School leader, and Emily Merrill sang 
for more than ten years in the choir 
and later became leader of the Sunday 
School, which came to be known as 
the best singing Sunday School in Ban- 
gor. Other singers in the Universalist 
Church and Sunday School were Mrs. 
J. H. Haynes, Mrs. James Dinsmore, 
Harry Pote, E. T. Wasgatt, Mrs. Wil- 
son Sawyer of Brewer, Mrs. B. B. Mer- 
rill of Brewer, Rosa Berry and W. A. 
Palmer. 


Knox and Lincoln Musical Association 


The Knox and Lincoln Musical As- 
sociation was organized through the ef- 


forts of Rev. J. K. Mason who was — 


then the pastor of the Congregational 
Church in Thomaston. He became its 
first President. S. W. Jackson of Wal- 
doboro was Vice President; George W. 
French of Thomaston was Secretary; 
and W. B. Evans, Treasurer. 

The: first session was held in 186s, 
at Thomaston, with Professor Wheeler 
of Boston as conductor and thereafter 
its sessions were held in September or 
October of each year until its close. 

Other sessions were held at Dama- 
riscotta in 1866, 70, 777, 79, ’81; Rock- 
land, 1867, "69, 771, 776, 9.) weuwea: 
’°86; Waldoboro, 1868; and Bath, 1875. 

These conventions were conducted 
for the most part by Boston leaders 


MUSIC OF THE STATE OF MAINE — 1857-1896 181 


among whom were B. F. Baker, C. 
Wyman, Luther O. Emerson, Carl Zer- 
rahn, T. P. Ryder, W. O. Perkins, and 
L. H. Southard. Other conductors were 
J. P. Cobb, G. W. Dudley, L. A. Tor- 
rens, and George L. Osgood. 

At the Damariscotta Session in 1870 
Camp Meeting John Allen came for- 
ward on the platform, unannounced, 
bringing with him his granddaughter 
and insisted that she be given an op- 
portunity to sing. After the request 
had been granted, this young soloist so 
completely charmed the audience with 
her vocal powers that she was recalled 
again and again. This was Lillian Nor- 
ton, who afterwards became the great 
Nordica. The conductor was so pro- 
voked because his “imported soloist” 
had been overshadowed, it was said, 
that he treated Miss Norton with scant 
courtesy. 

Among soloists at these conventions 
were Henry Clay Barnabee, Leonard 
Marshall, and G. F. Meservey, pianist, 
of Rockland, who “created a great 
furor.” 

The twentieth and last annual meet- 
ing of the Knox and Lincoln Musical 
Association was held at Damariscotta 
in 1887 and this old organization, which 
had served the musical people of two 
counties for more than two decades, 
was discontinued for lack of funds. 

The best musicians of their day in 
the counties of Knox and Lincoln took 
leading parts at these annual gather- 
ings. 


Orpheus Club of Rockland 


In 1872, with the assistance of Pro- 
fessor A. M. Crockett, teacher of piano 
and organ, at Rockland, the Orpheus 
Club was organized in that city by 
Capt. G. W. Brown, a man of wealth 
and a great music lover. 

Annie Harrington, who later became 
Mrs. Augustus Small, was the first 


pianist. On the marriage of Miss Har- 
rington in 1874, Maria Tibbetts was 
chosen as her successor. She served 
until 1875 when Mrs. James Wight be- 
came pianist of the society. Mrs. Wight 
officiated in that capacity until the club 
disbanded. 

Capt. E. A. Burpee was conductor 
during the entire period of the club’s 
existence. The organization was very 
popular and was employed at musical 
conventions, concerts and other events 
for many years. 

The music in the churches of Rock- 
land has always been of the best. 

Among the singers at the Congrega- 
tional Church during this period, and 
later, were Mrs. George Kimball (Sr.) 
who was, for many years, its leading 
soprano; Chandler Tibbetts, for a long 
time leader of the choir; Mrs. Tibbetts, 
Mr. and Mrs. J. G. Torrey, Mrs. Alice 
Treat, Miss S. Farrow, Miranda Wig- 
gin, Luella Snow, Helen Everett, Caro- 
line Keating, Penelope Morse, R. P. E. 
Thacher, William Barker, W. M. 
Snow, Jr., J. B. Litchfield, and Dexter 
Morse. 

Julia Spear, who succeeded G. D. 
Smith as organist when he enlisted in 
the Civil War, played in this church 
for five years. During her term as or- 
ganist Lucy McLoon Allen was so- 
prano, Julia Spear, alto, James Wight, 
tenor, and Llewellyn Wood, bass. Mr. 
Wood was later succeeded by Charles 
Miller. 

There was then formed a choir which 
continued for many years and became 
more than locally famous. It consisted 
of Mary Fuller, soprano; Julia Spear, 
alto; James Wight, tenor; and E. A. 
Burpee, bass. Carrie Burpee was the 
organist. On Miss Burpee’s retirement 
she was succeeded at the organ by Mrs. 
Wight. George Torrey followed Mr. 
Burpee in this choir and continued 
with it until it disbanded. Clara Fur- 


182 MUSIC AND MUSICIANS OF MAINE 


bish, while still a young girl, became 
the choir’s soprano on Miss Fuller’s 
retirement. 

Among the singers at the Baptist 
Church at this time were Olive Tup- 
per, Theresa Butler, Flora Grant, Min- 
nie Atkins, Ada Blackington, Frank 
Leach, H. M. Lord, William Heath, 
Elizabeth Jones and Martha Fuller, 
and D. N. Mortland was leader of the 
choir in 1871, when the old organ was 
supplanted by a newer instrument. 

At a concert given about this time 
Lillian Norton was the soloist. 

The Rockland Courier Gazette said 
of Miss Norton’s performance, ‘““The 
excellence of Miss Norton’s singing was 
a pleasant surprise to the many whose 
only knowledge of this lady had been 
derived from reading her name on the 
bills. She has a rich, pure and power- 
ful voice and created a most favorable 
impression.” 

Mr. Mortland continued to lead the 
choir for several years, during which 
time Dr. Samuel Tibbetts was the bass. 
For the most part of that period Ada 
Blackington sang the soprano and 
Nancy Sleeper the alto parts and Fred- 
erick R. Sweetser was the organist. 

Mary Hutchins, who afterwards se- 
cured a position in a Boston choir, 
was, for a long time, an admired singer 
in this church. 

The Free Baptist Church, organized 
in 1851, numbered among its early 
singers Lucy Sylvester and Harriet 
Fairbanks, and, in later years, Mrs. 
Carrie Smith Babbidge, Mrs. Eva 
Snow and the daughters of A. J. Bird, 
Emma, Mary, Ada and Harriet, were 
among those connected with music in 
this church. 

E. A. Burpee was one of the most 
prominent leaders in singing in the 
Episcopal Church in which he was as- 
sisted by Emily Phillips. 

The Catholic Church there, as else- 


where in Maine, made much of its mu- 
sic and prominent in this was the Mc- 
Namara family. 

Rockland, in this period, did not 
lack for vocal leaders. ate 

N. A. Burpee and Leander Starr 
taught a singing school at which all 
who sang in the Baptist Choir received 
instruction without charge. As any one 
who could sing at all was eligible, it is 
said that “there were many Baptists 
in Rockland at that time.” 

Mr. Mortland, who had taken up his 
residence in Rockland in 1867, taught 
a few terms of singing school, and 
among those on his programs as solo- 
ists, besides himself, were Mrs. Emma 
Waterhouse, Edna Hall, Mary Fuller, 
S. T. Mugridge and Samuel Tibbetts. 

Bernard Schwaffle, a teacher of the 
piano, was also located in Rockland 
at one time. 

Quite famous was the Ariel Quartette 
composed of Mrs. F. R. Spear, Mrs. 
D. N. Mortland, Mrs. Louise Furbish, 
and Julia Spear, with Mrs. Wight as 
accompanist. They made their first ap- 
pearance in 1886 at a convention mat- 
inee of the Knox and Lincoln Musical 
Association which was being conducted 


by George L. Osgood and sang for ° 


some years on many public occasions. 

In 1868 the opera “Pepita” was pre- 
sented in Rockland by local talent, 
with H. A. Litchfield as Don Carlos 
and Mary Euller as Pepita. 


In 1876 the opera was repeated un- ~ 


der the auspices of the Orpheus and 
Fletcher Clubs, when the correspond- 
ing roles were taken by George E. 
Torrey and Clara L. Furbish. 
Professor Frederick R. Sweetser, in 


his admirable manuscript entitled “Mu- — 


sical People,” refers to the old musical 
conventions held in Searsport, and 


some of those who were prominent — 


musically there. 
“Among those who took part,” he 


Se ee Le ee ae ee 


a wie. wees 


MUSIC OF THE STATE OF MAINE — 1857-1896 


writes, “was Miss Clara B. Nickeis 
who, becoming interested, later culti- 
vated her voice under the wonderful 
teaching of Madame Rudersdoff. She 
developed into one of the finest so- 
pranos of the country and was in great 
demand for church, concert and ora- 
torio. She had a keen mind, was a 
marvellous reader of music and made a 
name for herself as being quite able to 
carry anything through that she under- 
took. She decided to study for grand 
opera, and went abroad with Annie 
Louise Cary. She spent one winter in 
St. Petersburg singing with Patti and 
Cary, also singing in Moscow in opera. 
Later she studied in Milan, Florence, 
and Paris. While in Moscow she 
took the place of Pauline Lucca who 
was taken ill. Miss Nickels died in 
Paris just as she was about to start in 
upon what would undoubtedly have 
been a brilliant career. While in Mos- 
cow she learned the opera of ‘La Juive’ 
in two weeks time, and made a success 


= i) it. 


“Another local singer of great ability 


_ was Mr. David Mortland who had a 


rare tenor voice. He never studied, but 


had a natural style, full of refinement. 


a 
& 


_ of my choirs in Rockland, Maine, sing- 


i 


In later years he was a member of one 


ing with Miss Ada Blackington who 
had a glorious voice, soprano, Miss 
Nancy Sleeper, contralto and Dr. Sam- 
uel Tibbetts, bass. As members of my 
quartette at the Universalist Church I 
had Miss Ella Palmer, soprano, a fine 


_ church singer, Miss Sprague, contralto, 


ak 


Mr. Edward Berry, basso, and also 


~ Mr. Mortland as tenor. 


“Among the instrumentalists was 
Miss Emma Simonton who spent much 


_ time in perfecting herself, and who be- 
- came a brilliant pianist. 


o, 


4 


“Mrs. James Butman has had a great 


influence in the uplifting of the musi- 


_ cal taste of Searsport giving only of the 


183 


best. Her daughter, Miss Gladys, was 
a most charming pianist, a pupil of 
Carl Baermann, who considered her 
full of promise. Her death occurred 
in 1914, at the age of twenty-six years. 

“Miss Margaret Butman graduated 
from the New England Conservatory 
and has since filled important posi- 
tions in Brandon, Toronto and in the 
south.” 

Frederic R. Sweetser (1853-1924), 
for many years organist and director 
of music at St. James Church, New 
London, Conn., was born in Searsport, 
Maine, where he studied music with 
Emeline Nickels. After a period of 
study with Frederic S. Davenport of 
Bangor he spent a year in Rotterdam, 
Holland, under F. W. Van Gelder. 
After another year in London he re- 
turned to America and studied with 
James M. Tracy, Hugo Leonard, Jul- 
ius Eichberg and at the Boston Con- 
servatory of Music. He was at the 
head of the musical department of the 
Boxwood School, Old Lyme, Conn., for 
fifteen years, and was a member of the 
Oratorio Society and the Mozart Club 
and accompanist for the Orpheus Club 
of New London. He was pianist at 
many recitals and accompanist for 
prominent singers and instrumentalists. 


The Schubert Club of Skowhegan 
The Schubert Club of Skowhegan 


was an active club in its time. In 1882 
it had a membership of seventy sing- 
ers and an orchestra. Harry Kimball, 
who was then said to have been the 
best choir leader in the town, was its 
conductor. In 1878 when the cantata 
“Esther” was given the principals were 
Mrs. Etta W. Haynes, Sandford Chase, 
Albert Smiley, Mrs. Stella S. Morri- 
son, Mrs. Davis Miller, Mrs. Emma 
Dunton, and Mrs. Ella Pooler. 
Musical conventions, under the di- 
rection of Solon Wilder, were held in 


184 MUSIC AND MUSICIANS OF MAINE 


Skowhegan in the fall of the years 1863, 
1865 and 1873 and in this latter year 
a musical convention was held under 
William H. Sherwin of New York, and 
a singing school was opened by Harry 
F. Kimball, who held his classes at the 
Engine Hall. 

Among the teachers of music in 
Skowhegan at this time were G. W. 
Gardiner at the Bloomfield Academy 
and L. E. Bigelow and Mrs. E. H. 
Philbrick. Mr. Gardiner opened a sing- 
ing school in the town in 1860, and 
Mrs. Philbrick, who was afterward 
connected with the faculty of Bloom- 
field Academy, began playing the or- 
gan in the old First Parish Church 
when she was so small she could hard- 
ly reach the key board, but she pa- 
tiently preserved and held the position 
for many years. Pauline Philbrick Hill 
succeeded her sister, Elizabeth Philbrick, 
who had succeeded Frank Hartwell. 

In the early fifties William Morrill 
was organist at the First Baptist 
Church. Later, Hattie Morrill Smith 
(his sister) played until 1860, when 
Pauline Smith, who was organist at 
this church for ten years, succeeded 
her. An interesting picture of the choir 
at this period is drawn by Orlinda 
Weston: “In the front row, behind a 
protecting curtain, stood the sopranos 
and altos, a long line— Mrs. Marcia 
Bigelow, with her rich soprano in the 
center. My mother, and Mrs. Mary A. 
Bray, Mrs. Angeline (Hartwell) Jewell 
and her sister Emmeline Hartwell, the 
two Snow girls, Annette and Ellen, and 
Mrs. Steward Kincaid, are all that I 


can recall. One step higher up, directly . 


behind, stood the row of basses and 
tenors. I shall never forget the im- 
posing figure of Dr. Horace Stevens as 
leader of the choir, as he stood directly 
behind Mrs. Bigelow, and vigorously 
and rather pompously beat the time 
with his singing book back and forth.” 


Other singers in this choir were Levi — 


Bigelow, James Bray, Jotham Weston, ; 


and Henry Steward, besides others 


whose names are not recalled. ; 

In 1860, when Pauline Philbrick first — 
began as organist in the Baptist Church ~ 
on the hill (the brick church), the — 


choir was as follows: Mr. and Mrs. 


Augustine Wyman, Joseph Steward and rs 


Mrs. Norris Marston. Nellie Fletcher — 


and Mrs. Helen Shepherd also sang ~ 
there at one time. ‘ 

In 1864 (about) the members of the — 
choir at the Congregational Church on 
the Island were Mr. Brock, Mrs. Etta 
W. Haynes, Deborah Swan (Fellows) 
and Clarence Weston. 


Rossini Club of Damariscotta, Maine — 
The Rossini Club of Damariscotta, — 


organized soon after the ending of the 
Civil War, united with the Knox and — 


Lincoln Musical Association in send- 
ing a delegation to take part in the 
singing at the National Peace Jubilee — 


in Boston in 1869. At that time its — 
officers were Rev. J. J. Bulfinch, Presi- 


dent; E. W. Dunbar, Secretary; A. G. © 
Huston, Treasurer; N. H. Hussey, Li- — 
brarian; G. M. Thurlow, Musical Di- 
rector; and Mrs. W. D. Webb, Pianist. — 


Among its members were: 


Mrs. John Borland, Mrs. W. Hall, Mrs. H. N. 
Melcher, Mrs. H. W. Metcalfe, Annie G. Bar- _ 
stow, Nettie S. Hussey, Lizzie Huston, Lucella 


M. Winslow, Miss A. F. Metcalfe and Miss E. D. _ 
Thurlow, sopranos; Mrs. E. W. j 


Hussey, Mrs. L. J. Stanwood, Mrs. W. D. Webb, 
Mrs. Edward Wilkinson, Belle Chapman and — 


Lizzie B. Cotter, altos; J. J. Bulfinch, N.J.Clapp, — ) 


Warren R. Evans, C. F. Packard, Albert Rich- 


ardson and Newell Winslow, tenors; E. W. Dun- 


bar, N. H. Hussey, A Huston, Samuel — 


Knowlton, J. Merriam and J. H. Stanwood, e 


basses. 


Piscataquis Musical Association 


The Piscataquis Musical Association — 
was a county organization which drew ~ 


Dunbar, Mrs. 
Louise A. Evans, Mrs. Alden Flye, Mrs. Alvan 


MUSIC OF THE STATE OF MAIN E~— 1857-1896 185 


principally for its membership on Do- 
ver and Foxcroft, but, as it received no 
large measure of publicity, little is re- 
membered of it. 


: Cumberland County Music 
as Conventions 


John T. Merrill, for many years, was 
_ prominent in musical work in all of 
_ the small towns of Cumberland Coun- 
ty. He was the first leader of the Cum- 
_ berland County Music Conventions 
_ which existed from 1875 until about 
1890, and taught his first singing school 
in 1853. He continued this work in the 
towns of New Gloucester, Falmouth, 
Cumberland and Gray for more than 
twenty years. He married Frances H. 
Young and both were members of the 
old Portland Sacred Music Society. 
Other leaders of the Cumberland 
~ County Music Conventions were Nich- 
_ olas Rideout of New Gloucester and 
_ David McIntyre. 
Under Enos Blanchard, the last lead- 
er of the Gray Music Convention, 
_ oratorio was studied. Pianists at the con- 
vention gatherings were Ella S. Mer- 
rill of Gray, Ella Blanchard of Cumber- 
land and Annie Burbank of Yarmouth. 
Among the soloists at the Cumber- 
~ land County Music Conventions were 
_ Katherine Ricker of Falmouth, Flor- 
- ence Knight, Jane Furbish, Mrs. Alon- 
_ zo Knight, who was the leading so- 
_ prano, Mrs. Frank O. Haskell, Mrs. 
Mernoch Knight, Mrs. L. T. Cushing, 
_ Mrs. Charles W. Jordan of Yarmouth, 
- Howard Buxton and Edward True. 
_ Other singers were: 


George A. Thomas, Ralph Hascall of Dur- 
ham, a fine baritone; Mrs. Henrietta Merrill of 
_ Cumberland; Mr. and Mrs. Columbus Knight of 
_ Cumberland; Mrs. John T. Merrill of Gray; Mr. 
_ and Mrs. O. S. Thomes of Cumberland; Sewell 
2 
t 


_ Whitney; Rev. E. Bean, Alroy Noyes of Pownal 
_ Center, who was the treasurer; James Whitney 


of So. Gray; Hezekiah Whitney, Melvin Goff of 


JOHN T. MERRILL OF GRAY, ORGANIZER AND CON- 
DUCTOR OF THE CUMBERLAND COUNTY MUSIC 
CONVENTIONS. 


Gray; Mrs. Charles W. Jordan of Yarmouth; 
William Merrill; a Mr. and Mrs. Young of Cali- 
fornia; Mrs. Jennie Haskell of New Gloucester; 
and Mrs. Emma Cushing. 


Cornish Music Conventions 


In 1883 the Cornish Music Conven- 
tions were inaugurated by Dr. John T. 
Wedgewood who had come to that 
town in 1866. These four-day conven- 
tions were largely attended by the peo- 
ple who inhabited the Ossipee Valley, 
and who had become noted for their 
interest in music, which, to a large ex- 
tent, had been encouraged and fostered 
by Dr. Wedgewood while leading the 
singing schools which he had organized 
when he first settled in that locality, 


186 MUSIC AND MUSICIANS OF 


MAINE 


GROUP OF SINGERS ATTENDING A CUMBERLAND COUNTY MUSIC CONVENTION IN GRAY (1890). 
THE NAMES OF MANY OF THEM WILL BE FOUND ON THE PRECEDING PAGES 


and which he continued to conduct 
until the time of his death. 

Dr. Wedgewood was a native of 
Parsonfield, where he was born in 1832. 
During the years that he was endeav- 
oring to secure a medical education in 
Boston, he engaged in the piano mov- 
ing business that he might earn money 
to complete his course and receive his 
degree. While there he became a mem- 
ber of the Handel and Haydn Society 
Chorus. He was possessed of a clear 
bass voice of full tone and unusual 
power, which he used “to advantage 
and with exceptionally good taste.’ 
Dr. Wedgewood’s influence in music 
was far reaching and he became known 
to music lovers throughout the State. 

Mrs. Fred T. Flint, then of Cornish, 
but formerly of Cambridge and Port- 
land, “a magnificent contralto,” was 
one of the principal soloists at the 
Cornish Conventions. 


The Farmington Choral Society 


The Farmington Choral Society, 
which was in existence in 1869, sent a 
delegation of singers to the National 
Peace Jubilee in Boston. At that time 
its officers were: Charles Augustus Al- 
len, President and Musical Director; 
Jabez T. Gay, Secretary and Treas- 
urer; and Mrs. Georgiana P. B. Woods, 


Pianist; and its other members were: 


Mrs. Ann L. Craig, Mrs. Julia S. H. Fairbanks, 
Mrs. Sarah W. Haskell, Mrs. Abbie A. Jones, 
Julia H. May, Flora Mitchell, and Abby R. 
Wyman, sopranos; Mrs. Elizabeth Allen, Mrs. 
T. W. Bean, Abbie C. Goodrich, Charlotte B. 
Hunter, Lizzie M. Macomber, altos; John M. S. 
Hunter, Isaac S. Jacobs, William Lancaster, J. 
Currier Tarbox, tenors; and Robert McLeary, 
Richard R. Norton, Daniel W. Pratt, Abel D. 
Russell, M. P. Smith, John F. Woods, basses. 


To a memoranda found in an old 
hymn book this generation is indebted 
for a complete list of the members of 
the choir in the Congregational Church 
of Farmington in 1863: 


Chorister, Hon. Joseph W. Fairbanks; or- 
ganist, Abby Hunter; “trebles,” Mary Gleason, 
Ellen V. Goodenow, Julia $. Hunter, Laura P. 
Milliken, Mrs. Henry M. Howes and Mrs. Emily 
A. Richards; altos, Charlotte B. Hunter, Susan 
C. Hunter, Emma J. Randall, Emma E. Stewart 
and Mrs. William F. Gay; tenors, Joseph W. 
Fairbanks, Henry M. Howes, Ezra Staples, I. 
Warren Merrill and Richard S. Rice; basses, 
Charles N. Fairbanks, who afterward became 
chorister, John T. Luce, G. Dana Merrill, Ben- 
jamin M. Titcomb, John Titcomb, Joseph Tit- 
comb and William True. 


Agnes Elizabeth Allen, the daughter 
of Charles Augustus Allen of Farming- 
ton, was said to have been one of the 
ablest accompanists in New England. 

The Gorham Musical Association 
was, for a time, one of the most prom- 
ising musical societies in any of the 
smaller towns of Maine. It gave sev- 
eral concerts in the winter of 1857-58, 
including the presentation of the “Crea- 


a oe TEES 


MUSIC OF THE STATE OF MAINE— 1857-1896 


187 


tion” and “The Messiah,” with “no 


outside help,’ and the papers of the 
_ day declared that they were very cred- 


4 


itable performances. 


Lewiston Musical Association 
The first distinctively local musical 


_ association of importance to be organ- 
ized in Lewiston was probably the 
- Lewiston Musical Association, which 
came into existence on December 23, 
1857. In an old copy of its constitution 
_ and by-laws printed in 1859 is found a 
list of members of the Board of Gov- 


ernment for that year. 


They were 


George A. Clark, President; F. Newell, 


at 


Tap cy Pale a 


Vice President; W. K. Emminger, Con- 


ductor; W. L. Fitch, Second Conduc- 
tor; I. H. Weston, Treasurer; Eli Fer- 
_nald, Secretary; and A. R. Littlefield, 
_ Librarian. 


A revival of interest in choral music 


_ was taking place in Western Maine at 


this time. It was earlier in this year 


that the Haydn Association had been 
_ organized in Portland. 


Fortunately the names of the mem- 


bers of this old society were printed 
on the last page of its constitution and 


by-laws and they, too, have thereby 


_ been preserved. 


Gentlemen — Joseph Barbour, William Beat- 


ty, R. C. Boothby, Charles E. Coleman, George 


A. Clark, George L. Duston, Albert Edwards, 
W. K. Emminger, W. L. Fitch, Eli Fernald, 


Cyrus Greeley, Charles A. Locke, A. R. Little- 
field, A. C. Mitchell, F. A. Nickerson, F. Newell, 
_ Charles Nudd, H. G. Otis, A. P. Philbrook, J. D. 
- Rollins, Conrad Schafer, H. B. Sanborn, E. P. 
- Sewall, L. Simmons, A. D. Thorne, Thomas D. 
_ Thorne, I. H. Weston, C. C. Young. 


Ladies — Mrs. O. A. Ayer, Emma Boothby, 
Eliza Burgess, Carrie J. Blaisdell, Lina Cook, 
Hattie L. Chase, L. Jennie Chandler, Julia A. 


Coffin, Anna A. Clark, Melissa Chase, Eliza L. 


Decker, Lucy E. Decker, Nelly Dingley, Sarah 
Dunn, Miss M. W. Furbur, Mary E. Goss, 
Nellie Hall, Julia M. Hammon, Maria A. Her- 


_ rick, Mrs. Eliza J. Lufkin, Virgia W. Ludden, 
_ Anne D. Libby, Ellen Libby, Mrs. Murray, 
~ Emma Morse, Eleanor Marston, Mrs. Frank M. 


W. K. EMMINGER, FIRST CONDUCTOR OF THE LEW- 
ISTON MUSICAL ASSOCIATION (1857). 


Maxwell, Ada W. Newell, Mrs. E. A. Nickerson, 
Melissa Otis, Mrs. Louisa C. Olfene, Frances 
Perry, Amanda Perry, Julia Read, Vilena Stevens, 
Filone F. Stevens, Sophronia Stevens, Mrs. Au- 
gusta Small, Emeline D. Thurlow, Mrs. L. Ellen 
Thurlow, Ann A. Thorne, Sarah L. Townsend, 
Miss D. F. Townsend, and Annie Waterman. 
W. K. Emminger was another one of ° 
that little band of German musicians 
who emigrated to Maine with Hermann 
Kotzschmar. He was only twenty-one 
years old when he arrived in this coun- 
try but he soon came to be recognized 
as the leader in musical events in the 
twin cities on the banks of the Andro- 
scoggin. For a short time he officiated 
as organist at St. Joseph’s Church 
in Lewiston, but soon after he accepted 
a similar position at the High St. Con- 
gregational Church in Auburn where 
he served continuously until the break- 
ing down of his health. He was a thor- 
ough musician. His style was brilliant 
and was coupled with a rare gift for 


188 


MUSIC AND MUSICIANS OF MAINE 


improvisation. He became widely 
known as an orchestra leader and 
could play every instrument in the or- 
chestra. He was especialiy proficient 
with violin and flute and for many 
years he was conductor of the Andro- 
scoggin Musical Assoc:ation. Both as 
a leader and a teacher he was enthusi- 
astic and inspiring and many who 
studied the organ with him came to be 
well known in their profession. 


The Mendelssohn Club of Lewiston 


The Mendelssohn Club of Lewiston 
might well have been called the Cen- 
tennial Club, for it was organized in 
the year in which the United States of 
America was celebrating ‘ts one hun- 
dredth anniversary as a nation. It was 
a men’s singing club and B. F. Wood 
was its organizer and musical director. 

For several years E. W. Hanscom 
was its pianist and accompanist. It 
gave at least one concert a season and 
presented programs made up of works 
from the best composers. 

The officers of the society for 1877- 
1878 were, Hon. George H. Pilsbury, 
President; Hiram Dinsmore, Vice Pres- 
ident; Burton H. Winslow, Secretary; 
‘George W. Goss, Treasurer; W. H. 
Jones, Librarian; F. B. Sands, A. K. 
Ordway and F. A. Conant, Business 
Directors; and T. J. Adams, W. L. 
Lothrop and J. Hartley Smith, Music 
Committee. 

The members of the organization 
for this season were: 


Tenors, J. H. Chase, A. W. Fowles, C. E. 
Greenleaf, E. W. Greenleaf, A. F. Jackson, W. H. 
Jones, F. M. Lamb, W. L. Lothrop, A. K. Ord- 
way, W. M. Plummer, W. A. Robinson, E. W. 
Rowell, F. B. Sands, J. F. Shattuck and S. D. 
Wood. 

Basses, T. J. Adams, F. A. Conant, Hiram 
Dinsmore, C. H. Dodge, R. E. Gilkey, G. W. 
Goss, F. E. Jordan, F. O. Mower, J. F. Merrill, 
H. W. Oakes, Charles B. Reade, J. Hartley 
Smith, George A. Turner and Burton H. Wins- 
low. 


Among others who later joined the 
society were, 

F. L. Blanchard, R. B. Hayes, A. R. Savage, 
J. Callahan, H. F. Kimball, Fred Lufkin, E. F. 
Scruton, G. W. Smith, basses; and George T. 
Page and A. J. Shaw, tenors. 


In 1882 the Mendelssohns, with the - 


assistance of a women’s chorus made 
up of some of the best singers of Lew- 
iston and Auburn, and supported by a 
large orchestra and a cast of fifty, pre- 
sented “The Pirates of Penzance.” B. 
F. Wood was the director, G. L. Cush- 


ing the leader of the orchestra and Mrs. — 


A. J. Tukesbury, pianist. Louise Bald- 


win of Boston sang the leading roles — 
and the other principal parts were — 


taken by T. J. Adams, F. M. Lamb, 


W. H. Jones, W. L. Lothrop, F. Tom 


Lufkin, Edith Edwards, Estelle M. 


Hall, Carrie Rogers and Miss L. P. — 


Sumner. 
Other operas were produced by the 
society, among them “Pinafore,” with 


practically the same members in the © 


principal roles. 
William F. Goulding was, for several 
years, President of this society, and 


other Vice Presidents were F. B. Sands ~ 


and A. R. Savage. 


The Ceciha Club of Lewiston 
“Believing that an association for 


the improvement in the art of music ~ 


will be of great advantage, we, Mrs. — 


Georgie E. Wood, Mrs. Alice J. Tukes- ; 
bury, Mrs. Augusta Edwards, Miss — 


Josie Thorne agree to form such an © 


association and to be governed by the 
following constitution.” 


Thus in 1881 was the Cecilia Club > 


of Lewiston born. This was an organ- 
ization composed entirely of ladies, 
with its members limited, “not to ex- 
ceed twenty-four.” ) 

The first officers of the club were 
Georgie E. Wood, President; Au- 
gusta Edwards, Vice President; Alice 


MUSIC OF THE STATE OF MAINE~— 1857-1896 189 


J. Tukesbury, Musical Directress; Es- 
telle M. Hall, Secretary; Lena Robie, 
Treasurer; Lizzie D. Harlow, Libra- 
rian; Augusta Edwards, Alice J. Tukes- 
bury and Josie Thorne, Musical Com- 
“mittee. 
A list of the original members, twen- 
ty-one in number, included: 

Florence Benson, Hannah C. Harlow, Lizzie 
D. Harlow, Etta Harlow, Mattie E. Hersey, 
Nancy Hill, Grace Littlefield, Mrs. Georgie E. 
Wood, Mrs. Helen M. Young of Auburn; Mrs. 
Sarah J. Andrews, Mrs. Lizzie K. Dickey, May 

_V. Dickey, Nellie Drew, Mrs. Augusta Edwards, 
Estelle M. Hall, Carrie A. Horne, Mrs. Lena 
Robie, Josie Thorne, Mrs. Alice J. Tukesbury, 

-and Mrs. Sarah J. Washburn of Lewiston; and 
Agnes Walker of Poland. 

Its programs were of a classical na- 
ture. This society thrived for some 
years. Carrie Horne was the pianist of 
the club. 

Among its honorary members were 

Bi. EH. Calvert, F. L. Dingley, E. W. 
Hanscom, Harvey Murray and B. F. 
Wood. 


The Rossini Choral Union 
The Rossini Choral Union, with its 


chorus of fifty voices, gave a number 
of concerts in Lewiston in the early 
eighties. L. W. Ballard was the di- 
rector and the chorus was usually ac- 
companied by his orchestra. Mrs. Alice 
J. Tukesbury was the pianist. Soloists 


ALICE J. TUKESBURY, ONE OF THE FOUNDERS 
(1881) OF THE CECILIA CLUB OF LEWISTON; FIRST 
PRESIDENT OF THE CLEF CLUB (1894) AND FOR 
MORE THAN FIFTY YEARS AN ORGANIST IN THAT 
CITY. 


Festival held in Lewiston, was born in 


from Portland and other cities sang the 
_ leading parts and principal solos. Prom- 
-inent on these programs were Helen 
Nash, soprano; Lulie Sumner, contral- 
'to; A. E. Pennell and W. H. Stock- 
bridge, tenors; and J. B. Coyle, bass. 
Other soloists were Mrs. H. Parker, 
Mrs. H. E. Wood, May Mitchell, Es- 
telle Hall, Florence E. Stinchfield and 
Mrs. Helen M. Young. 

Levi W. Ballard, founder of the 


Tamworth, N. H. 

In 1857 Mr. Ballard came from Con- 
cord, N. H., to Lewiston. He secured 
a position as organist and soon ac- 
quired a large class of pupils. In 1885 
he moved to Minneapolis, Minn., where 
he spent twenty-five years in musical 
work. For twenty years before leaving 
Lewiston he furnished music for schools 
and college commencement exercises 
throughout the State. 


Maine State Musical Association, con- 
ductor of the Rossini Choral Union 
and director of the first State Musical 


In 1910 he returned to Maine and 
became conductor of the Philharmonic 
Chorus in Lewiston. 


190 


MUSIC AND MUSICIANS OF MAINE 


Mr. Ballard conducted the first 
standard oratorio to be performed in 
Lewiston (1882). This was the “Crea- 
tion.” His musical organization, which 
was known as Ballard’s Chorus and 
Orchestra, made up of more than two 
hundred singers, later presented “The 
Messiah” and several other oratorios. 
He was prominent in all the large mu- 
sical undertakings in Androscoggin 
County for many years. He conducted 
musical conventions throughout the 
State and in Vermont; organized the 
first orchestra at the Old Maine State 
Seminary and the first symphony or- 
chestra in Lewiston and was organist 
at the Free Baptist Church, Lewiston, 
for fourteen years. His activities cov- 
ered a period of more than sixty years. 
His cantata “Joseph,” the “Opera of 
Life,” “Prayer and Praise,” the “One 
Hundred Third Phalm” and the “Nine- 
ty-first Psalm” are among his best 
known compositions. 


The Schumann Musical Association 


In 1884 the Schumann Musical As- 
sociation of Lewiston was organized, 
and, on January 22, 1885, the society, 
assisted by the State Street Church 
Quartette of Portland, then composed 
of Mrs. W. P. Chase, Mrs. L. A. Goudy, 
W. H. Stockbridge and J. B. Coyle, 
presented Schumann’s cantata, “The 
Pilgrimage of the Rose.” Hermann 
Kotzschmar was the director and Prof. 
A. Beique was the accompanist. 

In 1885 Rossini’s “Stabat Mater” 
was given in Lewiston with Carl Zer- 
rahn conducting and Mrs. A. J. Tukes- 
bury acting as pianist. The local sing- 
ers were assisted by the Germania Or- 
chestra of Boston. The soloists were 
Emma Juch, soprano; Emily Winant, 
contralto; Charles ‘Thompson, tenor; 


and D. M. Babcock, bass. 


Androscoggin Musical Society 
Another old county musical club was 


el es ee hs et in te 


the Androscoggin Musical Society. Its | 


officers in 1869 were A, D. Lockwood, 
President; F. Newell, Vice President; 
R.C. Pennell, Secretary and Treasurer; 
Seth Sumner, Musical Director; and 
W. K. Emminger, Pianist; and among 
its members were: 

Mrs. E. J. Adams, Mrs. M. W. Chase, Mrs. 


M. A. Corliss, Mrs. A. E. Edwards, Mrs. C. ~ 


Freeman, Mrs. J. Goodwin, Mrs. O. P. Lane, 
Mrs. D. Wiggin, Mrs. J. Woodside, and the 
Misses L. Barker, A. Clark, M. A. Clifford, Ella 
Downer, J. L. Farrington, Eva Farwell, G. E. 
Hall, Eliza Pennell, Lottie Thompson, Josie 


Thorn, Grace Waldron and Dora Witcher, so- — 
pranos; Mrs. W. C. Darrah, Mrs. F. Gammon, ~ 
Mrs. E. A. Kinsley, Mrs. P. M. Thurlow, Mrs. — 
C. Walker, and the Misses E. M. Bodge, Eliza — 


Burgess, S. A. Chase, Victoria Cook, Nellie 
Drew, M. F. Sumner and Nellie Wyman, altos; 
Charles H. Barrell, Benjamin Chandler, A. B. 


Crafts, E. C. Farrington, T. Fillebrown, C. L. 
Hunt, J. B. Jordan, Carlos Nudd, A. K. Ordway, — 


R. C. Pennell and E. W. Rowell, tenors; J. H. — 


Chase, M. W. Chase, C. A. Davenport, H. Dins- 
more, A. B. Edwards, N. L. Fogg, D. W. Kins- 
ley, A. D. Lockwood, F. Newell, Charles A. Pen- 


dexter, A. E. Pennell, A. P. Pennell, J. W. Rick- — 


er, W. A. Russell, Seth Sumner, T. D. Thorn 
and B. F. Wood, basses. 


The society sent a delegation of more 


than sixty singers to take part in the © 


National Peace Jubilee in Boston in 
1869. 


pianists. 


One of the best women’s quartettes — 
ever organized in western Maine was 
the Philomela Quartette of Lewiston. — 
Helen Nash Sleeper was the first so-— 


prano and musical director; Belle Bart- 
lett Woodbury, the second soprano; 
Florence E. Stinchfield, alto; 


programs. 


B. F. Wood succeeded Mr. Sumner 
as director of the Androscoggin Musi- — 
cal Society and Harvey Murray and © 
E. W. Hanscom subsequently became — 


and 
Martha F. Lufkin, second alto. This 
quartette appeared on many concert 


MUSIC OF THE STATE OF MAINE— 1857-1896 _ of 
Pee ee SES TERED iil!) 5 i: 191 


The Alpha Quartette of Lewiston 

also met with considerable success. 
Mrs. Bertha Kenney Miller was the 
first soprano; Mrs. Florence Campbell 
_ Nevens, second soprano; Lucy Mitch- 
ell Lane, first alto; and Mrs. Minnie 
Goss Litchfield, second alto. 
_ The Schumann Quartette of Auburn, 
_of which M. Cora Bumpus was the so- 
-prano, appeared in concert in a num- 
ber of cities in the late seventies. Its 
other members were Mrs. Lena Robie, 
|W. L. Lothrop and T. J. Adams. 
Another musical club which existed 
in Lewiston at this time was the Ladies’ 
Verdi Mandolin and Guitar Club. 
Louise Baldwin, one of Lewiston’s 
most gifted singers, sang in concert in 
Boston and other cities where she be- 
“came prominent as a teacher of the 
voice. She was the daughter of Mrs. 
Royal Quimby. She married Alberto 
Randegger, composer, conductor and 
professor of singing. Prof. Randegger 
conducted Mozart’s “Magic Flute” at 
Covent Garden, London, where he and 
his wife went to live, and has directed 
“many other notable concerts. Many 
Maine singers were pupils of Randeg- 


ager. 
; The Augusta Choral Society 
: 


_ Another organization to send a dele- 
gation to the National Peace Jubilee in 
Boston was the Augusta Choral Soci- 
ety. In 1869 its officers were George 
Weeks, President; A. Partridge, Sec- 


‘retary; A. Clark, Treasurer; Dr. A. H. 


- 


Chamberlain, Librarian; and Walde- 
mar Malmene, Musical Director; and 
‘its members were: 


_ Mrs. O. G. Turner, Fannie Allen, Julia Fol- 
som, Brinda Fuller, Miss M. E. McArthur, 
Annie Partridge, Mary Richards and Abba Tur- 
‘ner, sopranos; Mrs. Waldemar Malmene, Mrs. 
‘Laura Sewell, Carrie Blanding, Master Allen 
Rutherford and Master Fred Staples, altos; Dr. 
A. H. Chamberlain, Dr. W. Scott Hill, Frank 
‘Knowlton and W. Malmene, tenors; A. Clark, 


SS 


J. L. Hodsdon, Jr., Allen Partridge, George E. 
Weeks, C. P. Weston and H. Wood, basses. 


The Biddeford Choral Union 


The Biddeford Choral Union was 
organized by R. M. Hobbs soon after 
the close of the Civil War. Charles W. 
Shannon was accompanist and director 
of the chorus. In 1869 the Peace Festi- 
val Choir of Saco was organized large- 
ly from the members of the Biddeford 
Choral Union. This choir included 
many of the best voices to be found in 
these adjoining cities and among those 
who went to sing in the great Boston 
Jubilee were: 


Mrs. Melinda K. Abbott, Mrs. E. H. Bailey, 
Mrs. M. A. Hodgkins, Mrs. Eliza Howland, Mrs. 
Hattie Littlefield, Mrs. J. W. Littlefield, Mrs. 
FE. Manson, Mrs. T. L. Merrill, Mrs. J. E. Quin- 
by, Mrs. J. T. Seaver, and the Misses M. R. 
Atkins, R. C. Blake, Lizzie A. Burbank, Julia 
Hill, C. M. Kendrick, Sarah H. Nowell, Flor- 
ence Patten, Fannie E. Priest, Abby E. Robin- 
son, Susie C. Smith, A. M. Sumner, J. M. Sum- 
ner, Lissa A. Tuxbury, Sarah Usher, sopranos; 
Mrs. Mary E. Clark, Mrs. George Googins, Mrs. 
S. K. Hamilton, Mrs. William Perkins, Mrs. 
Josie R. Seavey, Mrs. C. W. Shannon, Mrs. A. C. 
Tuxbury, Mrs. H. L. Weaver, Lizzie P. Gold- 
thwait, Amanda Haseltine, Annie Jewett, Mary 
E. Sands, altos; G. G. Additon, Alonzo L. Berry, 
Paul Chadbourne, James L. Emery, Edwin J. 
Foss, Edwin A. Gowen, George E. Grant, Wil- 
liam A. Hodgkins, Thomas L. Merrill, S. K. 
Milliken, John Phantom, A. A. Tapley, Alonzo 
Towle, Alfred C. Tuxbury, Charles E. Usher, 
tenors; J. S. Additon, John Barker, George 
Beaumont, James Boardman, R. S. Boulter, H. 
G. Dean, George D. Emerson, F. N. Hodsdon, 
S. C. Libbey, John M. Pevey, Albion Sands, 
Albert C. Sawyer, J. T. Seaver, Manson Seavy, 
C. T. Shannon, Charles W. Shannon, James H. 
Shannon, George S. Watson, basses. 


The Saco Chorus Club was organized 
for the young people of Saco by Mr. 
Shannon as a music school on a con- 
servatory design. 

In 1870 the Biddeford Choral Union 
and the Saco Chorus Club assisted by 
Chandler’s Band of Portland united in 
a “grand concert” in the City Hall, 
Saco. Among the musicians of promi- 


192 MUSIC AND MUSICIANS OF MAINE 


CHARLES W. SHANNON, ONE OF THE FOUNDERS OF 
THE BANGOR CONSERVATORY OF MUSIC AND FOR 
MORE THAN SIXTY YEARS AN ORGANIST IN SACO. 


nence who made public appearances in 
Saco at about this time were 1,4. 
Gowan and Mrs. Paul Chadbourne, 
pianists; James Stanton, George Darl- 
ing, Mrs. J. W. Littlefield, George Ey, 
Grant, Mrs. E. Manson, Mrs. M. A. 
Roberts, Kate Morris, Mrs. T. L. Mer- 
rill, Mrs. C. W. Shannon, Mabelle S. 
Shannon, Alice Goshen, Charles Ab- 
bott, J. H. Fenderson, Mrs. W. F. Ab- 
bott, Mrs. George Cutter, Hattie Ak- 
kerson, A. C. Sawyer, L. B. Milliken 
and Helen and Charlotte Bedell, vo- 
calists. 

Professor Charles W. Shannon, or- 
ganist in Saco from 1862 until the time 
of his death in 1925, was the grandson 
of Deacon Richard Shannon. He was 
born in New London, Conn., in 1837. 
His father, Charles T. Shannon, was a 
natural musician who could play on 
any instrument without being taught. 
The grandfather, Deacon Richard 


Shannon, tried to discourage the mu- 
sical ambitions of his son and forbade 
him to play excepting on Sundays. 
Fearing that his boy might become a 
musician, he sent him to New York to 
learn the prosaic occupation of soap 
making, which to his mind was more 
respectable. In order to rid himself of 
the soap business, .which he detested, 
Charles T. Shannon, answering an ad- 
vertisement of “Musicians Wanted,” 
joined the Navy. He had never before 
seen a clarinet but on being asked by 
the bandmaster if he could play it, sur- 
prised himself with the ease with which 
he mastered it. At the end of his en- 
listment he returned to Saco where he 
became organist in the First Parish 
Church, a5 

Charles W. Shannon first played the 
organ in the First Parish Church at the 
age of seven or eight, when he sup- 
plied for his father, who had taught 
him how to play and who, because of 
sO many services in connection with a 
convention then being held in Saco, 
was unable to perform his regular du- 
ties. When fourteen and sixteen years 
old respectively, Charles W. Shannon 
and Richard Cutts Shannon gave an 
entertainment in Cutts Hall, Saco, at 
which they were assisted by E. H. 
Weeks, violoncellist, the Glee Club and 
the Saco Cornet Band, P. H. Clark, 
leader. 

At one time three members of the 
Shannon family were playing organs 
in six separate churches in Saco and 
Biddeford. | 

Mr. Shannon played at the Congres 
Square Church in Portland in 1869. In 
the winter of 1887 and 1888 he went 
abroad. On his return he again took 
up his profession as organist and di- 
rected choruses and many talented 
choirs. He was one of the organizers of 
the Bangor Conservatory of Music in 
1868 and at one time had sixty pupils 


eye ee ee ee ee ee ON Pe ony 


er eee ay Ce gee ee ap thy epee 


MUSIC OF THE STATE OF MAINE-— 1857-1896 193 


in Bangor. He organized a music 
school and gave the only three musical 
conventions ever held in Saco. He 
never tired of telling how he “hired” 
Annie Louise Cary for a concert before 
she became famous and how, for her 
appearance, he paid her fifteen dollars. 

His services as organist covered a 
period of sixty-three successive years. 


L’?Union Musicale of Biddeford 


Ever since the days of Father Ga- 
brielle Druillettes the French people of 
Maine have played an important part 
in the music of the State. 

Choral and instrumental musical so- 
cieties, whose membership is composed 
wholly of people of French descent, 
have produced operas that compare 
favorably with professional produc- 
tions. 

Their love for the artistic, their at- 
tention to tone production as well as 
other minute details have developed 
among their people some of the best 
musical aggregations to be found in the 
State. 

One of the earliest French Societies 
in Maine was L’Union Musicale of 


Biddeford, organized and conducted by 


Pierre L. Painchaud, founder and lead- 
er of Painchaud’s Band: This society 
had a membership of sixty and Alfred 
Bonneau was its President for some 
time. Among the operas presented by 
L’Union Musicale were “Chimes of 
Normandy,” “Girofle, Girofla” and 
“Olivette.” The title roles in “Chimes 
of Normandy” and “Girofle Girofla” 
were sung by Heloise P. Renouf, 
daughter of the director, and that of 
“Olivette” by Gerome Morin. 
William Grant Brooks, born in Saco 
in 1869, was organist for more than 
twenty-five years in churches in Saco 
and Biddeford. His hymns appear in 
many hymn books and his band pieces 
have been played by the most famous 


bands in the country. He toured the 
country as a lecturer on musical sub- 
jects in a five-year course and gave 
many lectures on travel subjects, dur- 
ing which he traveled more than ten 
thousand miles. His book, The World’s 
Ready Helper, was translated into the 
Chinese language and is used in China 
by the school children of that country. 

Charles Henry Granger, another mu- 
siclan of Saco, was a musical genius 
and a portrait painter. He played the 
organ at the Old Unitarian Church in 
Saco for a number of years. 


The Parlor Musical Society 
of Belfast 

An organization which for some time 
occupied a prominent place among the 
musical clubs of Belfast was the Parlor 
Musical Society. This club was organ- 
ized in November, 1888, with twenty- 
five members, “for the promotion of 
music culture.” 

Following its re-organization in 1898 
its officers (1900) were Clarence Os- 
good Poor, President; Rev. James Mon- 
roe Leighton, Vice President; Bertha 
I. Bird, Secretary; Elbert Simmons 
Pitcher, Treasurer; and Essie M. San- 
born, Librarian. 

Mr. Poor retained the office of Presi- 
dent for nearly all the years of its ex- 
istence. Among others who were ofh- 
cers of the society were Mrs. Charles 
Walden, E. S. Pitcher and Louise Den- 
nett. 

No complete list of the members of 
this musical organization being avail- 
able, only a partial list of members 
and officers can be given here. Among 
the members were: 


Mary E. Faunce, Mrs. E. S. Pitcher, Ralph I. 
Morse, Charlotte Colburn, Mrs. Clement Wes- 
cott, J. Lee Patterson, Helen M. Dunton, Isabel 
Ginn, Mrs. Howard Whitten, Mrs. C. W. Wes- 
cott, Mrs. Ralph H. Howes, Mrs. E. P. Frost, 
Amy Stoddard, Marian Wells, Blanche Sulli- 
van, Mrs. G. W. Chase, Annie Crosby, A. C. 


194 MUSIC AND MUSICIANS OF MAINE 


Knight, Mrs. J. H. Quimby, Kitty Conant, John 
Parker, Katherine Brier, Clara B. Marsh, Grace 
Lamb, Isaphine Patterson, M. S. Crockett, Etho- 
la Frost, Russell Lord and Gladys Pitcher. 
The first concerts by this society 
were given in the Unitarian Parish 
House. Two programs were presented 
each season. For nearly twenty years 
this society served the people of Bel- 
fast as its leading musical organization. 
The Arion Quartette, whose mem- 
bers were Messrs. Pitcher, Jones, Craig 
and Pettengill, and The Ladies’ Quar- 
tette, composed of Charlotte Colburn, 
Miss Milliken, Mrs. J. H. Quimby and 
Mrs. E. S. Pitcher, were, at this time, 
rivals for popular favor in Belfast. 


The Belfast Musical Society 


The Belfast Musical Society was the 
successor of the Parlor Musical Soci- 
ety. C. O. Poor, who had been Presi- 
dent of the older organization, became 
the honorary president of the new so- 
ciety. 

Other officers were President, Ralph 
I. Morse; Vice President, C. E. White; 
Treasurer, BE. S. Pitchers “Secretary, 
Edith Burgess; Librarian, Leon Beck- 
with. 

E. S. Pitcher was its director and 
Mrs. Elon Gilchrist, Amy Stoddard 
and Mrs. Leon Beckwith were its pi- 
anists. 

The new organization was not con- 
tent with concert programs, so with 
the aid of professional directors and 
stage managers from Boston several 
operas were produced by the members 
of this society and their fellow towns- 
people. The principal operas presented 
were “The Chimes of Normandy,” 
“Patience” and “Pepita.” 

Among those taking the leading roles 
in these productions were: 


Katherine Quimby, Villa Phelan Pendleton, 
Alice Simmons, Hazel Barnard, Anna Booker, 
Edna Bedell, Ralph I. Morse, Arthur Johnson, 
John J. Nolan, Charles Hammons, Elon Gil- 


christ, Morris L. Slugg, Bertram L. Davis, in 
“The Chimes of Normandy;” Ralph I. Morse, 
Charles F. Hammons, E. S. Pitcher, Clarence 
E. Hall, Arthur N. Johnson, E. B. Gilchrist, 
Katherine Brier, Mrs. C. E. Read, Winnifred 
Sanborn, Mrs. C. W. Wescott and Katherine 
C. Quimby, in “Patience;” and Charles F. Ham- 
mons, Robert S$. Rawson, Ralph I. Morse, El- 
bridge S. Pitcher, Katharine C. Quimby, William 
J. Havner, Katherine Brier, and Mrs. C. W. 
Wescott, in “Pepita.” 

In the orchestra, at the presentation 
of “Pepita,” were: 

Violins, Mr. and Mrs. Carl Lamson; cello, 
Gladys Pitcher; bass, R. P. Chase; cornet, 
Charles Bartlett; trombone, H. A. Drinkwater; 
drums, John Parker; clarinet, Charles Harmon; 
pianists, Mrs. Elon Gilchrist and Louise Den- 
nett. f 


The Belfast Musical Society did 
much to cultivate musical appreciation 
by securing well-known artists for lec- 
ture recitals. 

Previous to the organization of the 
Parlor Musical Society the Belfast 
Choral Society, organized in 1879, “for 
the cultivation of music,” was a suc- 
cessful society for a considerable per- 
iod. Rev. Simon Goodenough was its 
first President. 

Other musical organizations, which 
gave concerts in Belfast during this 
period, were the Monarch Banjo and 
Guitar Club, whose membership was 


composed of young men of the city, 
and the Clef Club. 


The Musical Club of Brunswick 


The Musical Club, a society whose 
membership was composed of women, 
was formed at Brunswick in 1878, “on 
a basis something like the Ressini Club 
of Portland,” and gave their first con- 
cert in the spring of that year. Mrs. 
Henry Carmichael was the pianist and 
other members were Mrs. John Winch- 
ell, Alice McKeen, Mrs. Elizabeth 
Whitmore and Mrs. George Stetson. 

One of the earliest organizations in 
Bath was the Mozart Society of which 


MUSIC OF THE STATE OF MAIN E~— 1857-1896 195 


William E. Rice was the leading spirit. 
Carl Zerrahn was the concert director. 

Other musical societies which flour- 
ished in Bath during this period were 
the St. Cecilia Society and the Bath 
Quartette Club. 

Harry McLellan writes of the music 
in Bath at this time: “Between fifty 
and sixty years ago, Bath was a very 
musical place. My father has often 
spoken of the ‘four Emmas’ as they 
were known, Emma McLellan, after- 
ward Mrs. John R. Houghtcn; Emma 
Owen, afterward Mrs. G. E.R. Patten; 
Emma Elliot and Emma Hayden (Em- 
ma Eames’ mother), who later married 
(apt. Eames. These four were very 
prominent musically. At that time 
Joseph Emerson, who possessed a beau- 
tiful tenor voice, a friend and contem- 
porary of Annie Louise Cary, provided 
much vocal music. Annie Cary came 
to town frequently to visit relatives 
and her voice was often heard. My 
father, Charles H. McLellan, had a 
_ superb baritone voice and always took 
_ part in all musical affairs. The older 
_ generation will recall him as a member 
of the Haydn Society of Portland. At 
these concerts he appeared as soloist 
@ in ‘Fridolin, “The Messiah, “Crea- 
e tion,’ etc. 

“Tn these days Luigi Dama, a Mi- 
_ lanese, settled in Bath and gave les- 
sons in singing to a very large class. 


He afterward achieved distinction in 


California. 

“Thomas Ryan, the leader and or- 
ganizer of the Mendelssohn Quintette 
Club, also lived in Bath at that time. 
_ The organization acquired an interna- 
- tional reputation later. 

“Ethel Hyde who died some years 
ago had a magnificent dramatic so- 
prano voice. She was the daughter of 
General T. W. Hyde and _ studied 
abroad. Her voice had warmth and 
feeling. Impressarios in Europe tried 


to persuade the General to let her go 
into opera but for some reason he pre- 
ferred that she should not.” 

Mrs. T. W. Hyde (Mrs. Eames’ 
sister and wife of General Hyde) was 
very musical and an excellent accom- 
panist as was also Mrs. John Howland 
and Jennie R. Morse. 

Arthur S. Hyde, son of General 
Thomas W. and Annie Hayden Hyde, 
was born in Bath. He studied in Bos- 
ton, Paris and other musical centers. 
He was organist of St. John’s Episco- 
pal Church, Charlestown, Mass., and 
then, until 1908, at the Emmanuel 
Church in Boston, when he went to St. 
Bartholomew’s in New York where he 
remained until the time of his death. 
As a trainer of choirs he gained a fore- 
most place in the ranks of his profes- 
sion. “During his musical career he con- 
ducted choral societies in New York 
and Boston and in a number of Maine 
cities. 

Almost since its organization as a 
town East Machias has had the repu- 
tation of possessing more than the av- 
erage amount of musical talent. One 
of its first singing school teachers was 
Uriah Tufts, who also played the violin. 
It is said that he belonged to the fam- 
ily for whom Tufts College is named. 
There was also a Mr. Billings who 
taught music, not William Billings, al- 
though among William Billings’ de- 
scendants were some who were natives 
of East Machias. 

Other old time singing school teach- 
ers of East Machias were Irving Chase 
and “Ned” Parker. A “Prof. Bill” gave 
musical instruction in East Machias 
about 1863. Andrew Hanscom, who 
was born in East Machias, taught sing- 
ing schools all his life, and Irving Wil- 
son was another native who taught mu- 
sic there in the seventies. 

Among the early teachers of music 


in East Machias were Mrs. Abbie Bev- 


ALICE TALBOT, FOR MANY YEARS LEADER IN MUSIC 
IN EAST MACHIAS. FROM AN EARLY PHOTOGR#APH. 


erly, Mrs. Mabel Rose, Clayton San- 
born, Marian Talbot, Mrs. Edwin 
Dwelly, Mrs. Henry Whittier, Mrs. 
Julia Sanborn, and Mrs. Alice ‘Talbot. 
Later teachers have been Lizzie Brown, 
Mrs. Clara Hall Knox, Clara S. Tal- 
bot, and Hovey M. Wiswell. 

In the early days Mrs. Albert Cush- 
ing played the bass viol in the church, 
and before the organ was _ installed 
there one of the early musical instru- 
ments used to accompany the singers 
was an “elbow melodian.” This curi- 
ous and rare musica]instrument, which, 
to be played, was laid across the knees, 
and blown by the motion of the arms 
or elbows while the keys were played 
by the fingers, came into the possession 
of Mrs. Sarah Sanborn Ames. 

Jessie Upton and Mrs. Mabel Chis- 
holm McAlpine were prominent among 
the early vocalists of East Machias, 
while Mrs. Charles Dennison, Blanche 


MUSIC AND MUSICIANS OF MAINE 


Dewey and Arthur Sanborn were later 
singers. 

Among those who developed excel- 
lent voices during Mr. Harris’ stay 
there were Mr. and Mrs. Frank San- 
born, Mrs. Julia Furber, Mrs. Martha 
Hoyt, Mrs. Bertha Whittemore, Mrs. 
T. M. Sanborn, Mrs. Lillie Shaw 
Lynch, Mrs. Annie Shaw Burns and 
Marian Talbot. 

The Old Hundred Society of East 
Machias may be said to have been the 
original club for the promotion of choral 
singing in that town. Colonel William 
Pope was the one who was looked up- 
on as a leader by his musical associ- 
ates, among whom were Micah J. Tal- 
bot, Eben Blackman, Luther Hall and 
Daniel Savage. 

The Mendelssohn Club of East Ma- 
chias was organized in 1879. Herbert 
Harris was President and Director and 
Mrs. Alice Talbot was Accompanist. 

Besides the Mendelssohn Club, 
prominent among the musical organi- 
zations of East Machias have been the 
Glee Club, the Wiswell Brass Quar- 
tette, the Young Ladies’ Sextette, the 
Young Ladies’ Orchestra and the Fes- 
tival Chorus. 

The Young Ladies’ Orchestra, which 
was in existence about 1900, was com- 
posed of Carrie Maloon, violin; Mi- 


nerva Maloon, violin and banjo; Lucy 


Sanborn, cornet; Emily Sanborn, pi- 
ano; and Nana Upton, cello and voice. 

The Ladies’ Sextette was a vocal or- 
ganization, the members of which were 
Mabel Harris (leader), Julia Wiswell, 
Annie Keller, Emily Harris, Susan 
Sanborn and Marian Talbot. 

The Wiswell Brass Quartette was 
made up of Frank Wiswell and his 
three sons, Thomas, Harry and Hovey, 


while his daughter, Julia, acted as ac- 


companist. 
Among the East Machias musicians 
who served as organists were Mrs. 


ey i A, 2 


MUSIC OF THE STATE OF MAIN E/— 1857-1896 197 


Se 


OLD WINTHROP CHOIR. STANDING, LEFT TO RIGHT: JOSEPH W. ESTY, JULIET STANLEY, MARY STAN- 
LEY, CHARLES AUGUSTUS WING; SITTING: SARAH WING (ORGANIST). FROM AN OLD TINTYPE LOANED 


BY JULIET STANLEY WARREN. 


Elizabeth B. Talbot, Emma Cary, Clay- 
ton H. Sanborn, Mrs. Abbie Munson 
Beverley, Mrs. Charlotte Coleman 
Cary, Mrs. Nana Upton Oakes, Mrs. 
Lena Hall Patton, Mrs. Alice Brown 
Talbot, Emily F. Sanborn, Mrs. Mabel 
Austin, Harris Rose, Marian Talbot, 
Mrs. Sarah Sanborn De Merritt and 
Mrs. Mary Talbot Whittin. 

Mrs. George F. Cary who was, for 
some time, the accompanist of the 
Festival Chorus, taught singing in the 
schools of the town. 

In the old Baptist Church in East 
Corinth was Nathan Herrick, who 
played the bass viol, Franklin Herrick, 
who played the violin, and Erastus 
Ball, who played an elbow melodian. 
These three comprised “the church or- 
chestra.” Mr. Ball was also quite a 


famous singer and it was said of him 
that “his low notes would jar the seats.” 

Deacon Stephen Decker was the 
leading tenor and Elmira Decker, E]- 
mira (Ball) Rollins and Maria (Deck- 
er) Chapman sang the soprano and 
alto parts. Alexander Drummond was 
another who was a good singer at this 
time. The old cabinet organ which 
succeeded the orchestra in the church 
in 1856 was played by Mary E. Ball. 

Major Oakman taught singing 
schools in East Corinth and at one 
time took his family, who were all mu- 
sical, on a concert tour. In his family 
were Charles Oakman, violinist; Mari- 
on Oakman, cellist; and George Oak- 
man, pianist. 

George W. Oakman, born in Cor- 
inth, Maine, 1846, taught piano and 


198 MUSIC AND MUSICIANS OF MAINE 


SARAH. DEARBORN CHANDLER, PROMINENT WIN- 
THROP SINGER IN THE SIXTIES. FROM AN OLD 
TINTYPE. 


organ in Boston many years and was 
organist in several churches in Boston 
and vicinity. He was for ten years a 
member of the Handel and Haydn So- 
ciety of Boston and sang at the Boston 
Peace Jubilee. 

Winthrop has probably produced 
more singers with exceptionally beau- 
tiful voices than almost any town in 
Maine. 

Juliet Marion Stanley Warren, so- 
prano, who was born in Dixfield, 
Maine, went to live in Winthrop, where 
for twenty years she sang in the Con- 
gregational Church choir with her sis- 
ter Jane Elizabeth Stanley, who sang 
alto. Other prominent sopranos in Win- 
throp, in this period, were Emily Au- 
gusta Jacobs, who sang in the Meth- 
odist Church; Sarah Dearborn Chand- 


ler, who sang in the Congregational 
Church choir; and Annie Webb, who 
became organist at the latter church 
after the new organ was installed. 

Among the best alto singers were 
Nellie Esty Bridgham, who sang in the 
Congregational Church, then went 
abroad for several years, and later re- 
turned to Winthrop; Mary Malvina 
Stanley Gower; Carrie Wing, who was 
also an organist; Mrs. La Verne Kimp- 
ton Maxfield, who was a member of 
the old Winthrop Quartette; and Lona 
Straw. 

Elias Miller Clark was a fine bass 
singer in Winthrop at this time as was 
also Thomas B. Beals. Mr. Beals be- 
came quite celebrated as a double bass 
viol player, and, as a member of Fa- 
ther Kemp’s Troupe, went to England, 
and, on his return, became a resident 
of Somerville; Charles Wing, another 
excellent bass singer, was leader of the 
Congregational Church choir for many 
years; George Metcalf and Capt. Peleg 
Benson were among those who also 
sang bass in this choir. 

Other musicians in Winthrop were 
Frank Coy who sang tenor in the Con- 
gregational Church choir for a number 
of years and afterwards went west for 
a time; and Annie Branscombe Gower 
of Winthrop, a pupil of Willard Kim- 
ball and an excellent pianist. 

Among others who have been or- 
ganists in Winthrop were Albert Page, 
Sarah Wing, Horace Packard, Matilda 
Sewall and Phoebe Fairbanks. 

S. K. Whiting, a composer of several 
songs, was a native of East Winthrop. 

An old singing society which had a 
chorus of forty members was promi- 
nent in Winthrop in the seventies. 

Another choir that became more than 
locally famous was that of the First 
Baptist Church of Livermore Falls. 

Judge Roswell C. Boothby (1840- 
1922), a native of Leeds, who sang solo 


tT ARR SEER 


ad 
Sas 


gl 
i 


ae ene 


oa ae 


MUSIC OF THE STATE OF MAIN E— 1857-1896 199 


CHOIR OF THE FIRST BAPTIST CHURCH, LIVERMORE FALLS (1866). 


STANDING, LEFT TO RIGHT: DELIA 


WOOD, JOHN DUNHAM, JUDGE ROSWELL C. BOOTHBY (CHOIR DIRECTOR), WILLIAM DOYEN, JOHN 
ROWELL; SITTING: MRS, A. J. BURGESS, MRS. HELEN RAMSDELL, MRS. R. C. BOOTHBY (ORGANIST), 


MRS. C. R. NOYES, MRS. JOHN DUNHAM. 
ETHEL L. ALLEN. 


bass, was its leader for more than fifty 
years. Mr. Boothby held many high 
offices. He was Superintendent of 
Schools, County Commissioner and 
member of the Governor’s Council. 
Mrs. Helen Lancaster, born in New 
Sharon, for twenty-five years sang so- 


_prano in the choir. 


The choir of the Bridgton Meth- 
odist Episcopal Church at the time of 
its dedication in January, 1872, con- 
sisted of George Bradstreet, S. M. Cook, 
Addie S$. Goodwin and her sister Mary 
E. Goodwin. Nettie Burnham was the 
organist. 

Because of the mechanical limita- 
tions of this volume, references to a 
few of the musicians of this period who 
left their impress in varying degrees 
on the World of Music in Maine, 
though brief, must suffice. 

Willis Emery Bacheller (1861-1910), 


FROM A PHOTOGRAPH MADE IN 1866. 


LOANED BY MRS. 


who was born in Union, Maine, was 
musically educated abroad and made a 
name for himself in this country as a 
concert and oratorio singer (tenor) and 
later as a teacher of singing. He count- 
ed many prominent singers in his 
studio. 

Eugene Francis Johnson (1842-1876), 
a native of Gardiner, was probably one 
of the most remarkable pianists ever 
born in Maine. He first studied with 
Henry S. Edwards of Portland and la- 
ter with J. C. D. Parker of Boston, and 
in Germany with Speidle and Franz 
Bendel. He was for a time organist at 
the Congress Street Methodist Church, 
Portland, and then at the Park Street 
(Murray’s) Church, Boston. Among 
his compositions are “Seaside Echoes,” 
for piano, and two songs, “Old Robin 
Bids Farewell to Thee” and “Village 
Dear.” 


200 


Albert R. Frank, born in Poland, 
Maine, in 1859, studied with Myron 
and William Whitney, and later, in 
Florence, with Vannucini. He sang at 
the Old South Church in Boston for 
many years. For some time prior to 
his death he was at the head of the 
Boston Conservatory of Music. 

Edward E. Holden of Bangor, for 
many years a resident of Boston, was 
the possessor of an exceptionally fine 
tenor voice. He sang in a number of 
male quartettes, among the most fa- 
mous of which were the Apollo and 
Weber Quartettes of Boston. He was 
also a member of the Apollo Club of 
that city. 

Ella Lewis, daughter of Jacob Lewis 
of Portland, studied with W. H. Den- 
nett and later with Vannucini. She 
sang with Theodore 'Thomas’s Orches- 
tra for three consecutive seasons after 
her return from Europe. 

Dr. Augustus H. Burbank of Yar- 
mouth was a prominent Maine musi- 
cian. Ata musical convention in Phil- 
adelphia his voice created a sensation 
and he was called upon to lead the 
singing. Receiving several attractive 
offers he sang for a time in the church- 
es there. After his return to Maine he 
sang at the Congregational Church at 
Yarmouth. 

Esther Burbank, his sister, was also 
very musical and his daughter, Annie 
Burbank, who married William F. Ben- 
nett of Yarmouth, was an exceptionally 
good pianist. 

Julia Fenderson received her musical 
training in Italy. She gave a concert 
in Steinway Hall, New York, and made 
such a good impression that she was 
engaged by Gilmore and made her 
debut at Gilmore’s Garden as “Signori 
Guiletta.” 

Minna Bete of Lewiston had a voice 
of such promise that the citizens of Lew- 
iston gave a benefit concert at which 


MUSIC AND MUSICIANS OF MAINE 


three thousand dollars was raised as a 
fund for her vocal training. She stud- 
ied with Myron W. Whitney who said 
of her “when Minna is in song, she is 
not of earth, she is an angel. . . . Hers 
is the most wonderful voice I have 
heard in years.” Her Boston debut at 
the Conservatory was a triumph for a 
young girl who was then only about 
nineteen years old, but on the follow- 
ing morning she was carried to a hos- 
pital and there within a few hours she 
died. 

Leila Farrell, sister of Charles Far- 
rell, remembered by the older people 
in Portland as a strikingly beautiful 
school girl, developed more than ordi- 
nary musical talent, and succeeded 
Eliza Weathersby as Nat Goodwin’s 
prima donna. Her voice, though not 
big, was pleasing. Early in life her 
career, like that of her brother, was cut 
short by a fatal illness. Miss Farrell 
appeared with Alice Carle in a produc- 
tion of the “Mikado” by local singers 
in Portland in the seventies. 

Emma F. Griffith, daughter of Amos 
W. and Azubah F. (Stockbridge) Grif- 
fith, was the possessor of a fine soprano 
voice and locally well known in her 
young days in Dixfield where she was 
born in 1847. She sang in concert: in 
Dixfield and later in Boston. She was 
a student at the New England Con- 
servatory of Music at the time that 
Lillian Nordica was studying there. 

Among the old time singing school 
teachers in this period were, Horace 
True in Turner, Buckfield, Minott and 
Auburn; John Everett Rand in Steep 
Falls and Standish; Robert McLaugh- 
lin in Scarboro; Elwin Symonds in An- 
son; Thomas J. Wentworth in West 
Baldwin; and Temple H. Snow, in 
Westbrook. 

Alden Wing Lovejoy, son of Nathan 
and Temperance Wing Lovejoy, was 
born in Wayne in 1829. His father was 


ee sed,» SS er es ity 


he ek RACE 8 2 Sa 


MUSIC OF THE STATE OF MAIN E— 1857-1896 201 


a farmer. He evinced a taste for mu- 
sic at a very early age and learned to 
play the violin without an instructor. 
His first violin was purchased by an 
older brother for the sum of two shil- 
lings, but having no strings he utilized 
the thread of his father’s shoe ball for 
this purpose. When still a small boy 
he learned to sing alto parts in a local 
quartette. Later his voice developed 
into a fine tenor. He taught his first 
singing school at Litchfield at the age 
of sixteen. He became famous as a sing- 
ing school teacher and organized schools 
for singing, not only in Maine, but 
in Massachusetts, Rhode Island and 
Wisconsin. When he left his father’s 


farm, at the age of seventeen, he first ' 


went to Boston and traveled to Ohio, 
to Wisconsin and back to Worcester 
where, in 1858, he met and married 
May Dudley of that city and they 
moved to Boston. He became super- 
intendent of the Roger’s Piano Com- 
pany, and sang in many church choirs, 
including Dr. Means’ Church in Bos- 
ton, Dr. Sweetsir’s Church in Worces- 
ter and the Universalist Church at Co- 
lumbus, Ohio. He conducted many 
musical societies and glee clubs. His 
last years were spent at West Roxbury 
where his leisure was occupied in mak- 
ing violins and practicing and com- 
posing music. 

Thomas Jones, chime bell ringer, 
who lived in Portland for many years, 
died in that city about 1908 when 
nearly eighty years of age. He played 
cello in an orchestra in Boston and 
also in Portland and had a room on the 
top floor of the building on lower Ex- 
change Street where for a number of 
years a few elderly men gathered and 
played as a string quartette. Mr. Jones 
played the chimes in a church in Bos- 
ton, and after taking up his residence 
in Portland he played those which were 


in the Plymouth Church. He enjoyed 
the acquaintance of prominent singers 
and instrumentalists in both cities. His 
wife and daughter were both musicians. 

To Stephen A. Emery (1841-1891), 
one of the most popular teachers of 
harmony in the New England Con- 
servatory of Music, a large number of 
important American composers have 
been indebted for their fundamental 
instruction in the art of composition. 
Mr. Emery was born in Paris, Maine. 
He was the son of Stephen Emery, dis- 
tinguished Maine lawyer and jurist. 
As a child, before he was able to read 
music, he composed several little pieces 
and, aided by an elder sister, who 
showed him how to write out his com- 
positions, he made considerable prog- 
ress. He entered Colby University in 
the fall of 1859, but, owing toill health, 
and defective vision, was compelled to 
give up his college plans at the end of 
the freshman year. He took up the 
study of piano and harmony with Hen- 
ry S. Edwards of Portland, and upon 
the advice of this teacher he went to 
Leipzig in 1862. There he studied for 
two years with Richter, Papperitz, 
Plaidy and Hauptmann. After a short 
stay in Dresden he returned to the 
United States and remained in Port- 
land until the great fire of 1866, when 
he removed to Boston. On the opening 
of the New England Conservatory of 
Music in Boston, in 1867, he became a 
teacher of the piano and was later ap- 
pointed professor of harmony, theory 
and composition in the Boston Uni- 
versity College of Music, where he re- 
mained during the remainder of his 
lifetime. His compositions, numbering 
in all about one hundred and fifty 
pieces, nearly all of them in the smaller 
forms, are full of grace and delicacy 
and are all musical. 

His “Foundation Studies in Piano- 


202 


MUSIC AND MUSICIANS OF MAINE 


forte Playing, Op. 35” (written for his 
own children), a remarkably simple 
and easy course for beginners, and his 
“Elements of Harmony,” were for 
many years used almost exclusively 
throughout the country. 

Mr. Emery’s reputation as a lecturer 
upon musical subjects, a contributor 
to musical papers, a composer, a teach- 
er of harmony, counterpoint and piano 
was nationwide. His editorial contri- 
butions to The Musical Herald exerted 
a wide-spread influence among the mu- 
sical people of America, and through 
them he was influential in elevating 
the standard of musical taste. 

Among Mr. Emery’s distinguished 
pupils were Ethelbert Neven, Horatio 
Parker, Henry K. Hadley and Homer 
Norris. 

Homer Albert Norris (1860-1920), 
was born in Wayne. Among his Amer- 
ican music teachers were George W. 
Marston, F. W. Hale, Stephen A. Em- 
ery and G. W. Chadwick. After study- 
ing at the New England Conservatory 
in Boston he went to Paris where he 
spent four years in study under Du- 
bois, Guilmant, Godard and others. 
Returning, he became a teacher of mu- 
sic in Boston. He was organist at the 
Ruggles Street Baptist Church in Bos- 
ton for twelve years and organist and 
choirmaster at St. George’s Episcopal 
Church, New York City, two years. 

His compositions number about sixty 
songs, most of them of a romantic na- 
ture. “Protestations,” “Parting,” “O 
Mother Mine” (words by Kipling), 
“Peace,” “The World and a Day” and 
“Twilight” are all beautiful numbers. 
The last is considered by critics as one 
of the best American songs. His first 
song, “Rock-a-bye, Baby,” which is 
said to have had a greater sale than 
any hitherto published in America, he 
sold for twelve printed copies. 

Among his chief works are two can- 


tatas, “Nain,” and “The Flight of the 
Eagle” and a concert overture, “Zo- 
roaster.” 

Mr. Norris was a contributor to 
various musical journals and author of 
“Practical Harmony on a French Ba- 
sis,’ in two volumes, and “The Art of 
Counterpoint.” He married Henrietta 
Hobbs of Boston. 

E.. W. Locke, a native of Bath, was 
a resident of Portland in 1861 and it 
was in that city that he wrote many of 
the songs that became popular in the . 
United States army. He was a singer, 
composer and lecturer. At the break- 
ing out of the Civil War Mr. Locke 
tried to enlist, but was rejected by 
reason of an accident which had made 
him lame. He received an appoint- 
ment from President Lincoln to “go to 
the army and cheer the men around 
their camp fires.” With this commis- 
sion in his possession he visited over 
five hundred regiments and batteries, 
and taught his songs to the soldiers 
and remained with the army through 
the war. 

Mr. Locke sang at many hospitals 
and prisons songs which he composed. 
Among the best known were. “Hark 
to Arms,” “We are Marching Down to 
Dixie Land,” “We’re Marching on to 
Richmond,” “TI feel I’m Growing Old, 
Lizzie,” ‘““There’s a fresh Little Mound 
near the Willow,” “Down by the Sea,” 
“Strike for the Right,” and “Ship of 
State.” 

After the close of the war he con- 
tinued writing and publishing popular 
songs, few of which are now sung. Mr. 
Locke neither asked for nor received 
compensation for his services during 
the war. 

Among other composers in this peri- 
od were Rev. F. M. Lamb, born in 
Poland, 1858; Rev. Lorenzo B. Allen, 
born in Jefferson, 1812; Nathaniel But- 
ler, born in Waterville, 1824; and Rev. 


4 cpt <a 


a 
% 


me 
ie 


MUSIC OF THE STATE OF MAIN E— 1857-1896 203 


Henry M. King, born in Oxford, 1838, 
all of whom were hymn writers. 

George A. Quimby of Portland, who 
transcribed much music for the Cath- 
olic Churches, wrote some secular mu- 
sic, among the most popular numbers of 
which were “The Shepherd Boy’s Eve- 
ning Song,” “Flying Clouds,” “N’ Im- 
porte,” “La Rosiere,” “Polka Brilliante.”’ 

Charles Whitney Coombs, a native 
of Bucksport, who served as organist 
at the American church in Saxony 
from 1887 to 1891, composed a num- 
ber of cantatas, among which were 
“The First Christmas,” “The Ancient 
of Days” and “The Sorrows of Death.” 

Alfred Dudley Turner (1854-1888), 
composed a series of “Octave Studies” 
that have been declared to be among 
the most valued contributions made 
by an American to musical pedagogy. 

Other Maine composers were Emily 
Peace Meader, a native of Waterville; 
Victoire Hayden, composer of “Father, 
I go to Thee”; Prince Wheeler, a na- 
tive of Phillips; Oliver T. Shaw, Ben- 
jamin Whelpley, Alice Weston, Charles 
E. Hamlen, Paul White and Mae Sils- 
by White of Bangor. 

Musical works and books on musical 
subjects published at about this time, 
included the operetta “Carlotta,” in 
five acts, libretto by Mrs. J. H. Addi- 
ton, music arranged by James Wight, 
Rockland, 1870; “Helps to the Mercy 
Seat,” consisting of original hymns and 
selections, a book of two hundred and 
sixty-five pages by Rev. John M. Put- 
nam, published in Portland in 1870; 
and “Baptist Hymn writers and their 
Hymns” by Henry S. Burrage, Port- 
land, Maine, 1888. 

Other vocalists, and members of 
church choirs, of consequence at this 
time were, Della Ayers, Belle Bartlett, 
Mrs. M. L. Baker, George A. Briggs, 


IRA STOCKBRIDGE OF FREEPORT. PIONEER IMPRES- 
SARIO, TO WHOM WESTERN MAINE OWES MUCH 
FOR THE FOUNDATION OF ITS MUSICAL CULTURE. 


Fred Day, and Alice B. Morrison of 
Portland; Elsie Jordan of Yarmouth; 
Fred Chase of Augusta; William Bourne 
Brown of Lisbon Falls; and Albert 
Davis of Hallowell. 

From the end of the Civil War to 
the close of this period Portland was 
favored with appearances of many of 
the greatest vocal and instrumental 
artists of the world, for a large num- 
ber of which that city was indebted to 
Ira C. Stockbridge, the outstanding 
impressario in Maine in his day. 

Theodore Thomas’ Orchestra, Gil- 
more’s Band, The Boston Symphony 
Orchestra, the Germania Band and the 
Boston Opera Company were a few of 
the attractions which played in Port- 
land during this time, and which were 
attended by music lovers from all parts 
of the State. 


Lizzie P. Briggs, Martha Lufkin Coombs, Among the instrumental and vocal 


xi 
bres 


Ete 


ri 
ts 


AME Be aps 


= ~J 
7 


204 MUSIC AND MUSICIANS OF MAINE 


IN 1925. 


soloists who played or sang in Port- 
land during these years were, Adelina 
Patti, Adelaide Phillips, Teresa Parodi, 
Mlle. Montmorency, Signor Stigelli, 
Anna Bishop, Louis M. Gottschalk, 
Carlotta Patti, Camilla Urso, Parepa 
Rosa, Ole Bull, Clara Louise Kellogg, 
Signora Biscaccianti, Herr Mollenhaur, 
Carl Rosen, Carlo LeFranc, Bernard 
Listemann, Marie Krebs, Teresa Car- 
reno, Anton Rubinstein, Henri Wieni- 
awski, Louise Leibhart, Emma Cranch, 
Herr Von Bulow, Mlle. Theresa Ti- 
tiens, Henry Clay Barnabee, Georgie 
Dean Spaulding, Emma Abbott, Mme. 
Madeline Schuller, Tom Karl, Emma 
Thursby, Emma Nevada and Annie 
Louise Cary. 


Annie Louise Gary 
You sing 
And the melody of all the world 
Falls on my wondering heart. 
It cries and murmurs passionate and wild; 
In me it thrills in exquisite pulsation, 
And joy and pain and hope and exultation 
Are mingled in eternity of bliss. 


Leo RABELLE. 


BIRTHPLACE OF ANNIE LOUISE CARY, WAYNE, MAINE, 


FROM A PHOTOGRAPH TAKEN BY THE AUTHOR 


When a “Warning out of Town” 
was issued to constable Squire Bishop 
of Winthrop in 1792, in which he was 
directed to notify “John Clark, fiddler, 
a transient person who has lately come 
into this town for the purpose of abid- 
ing therein, not having obtained the 
town’s consent therefore, that he de- 
part the limits.thereof within fifteen 
days”; and when this constable warned 
a man (bélieved to be the same man) 
“Off of God’s Earth,” and, having re- 
ceived in return the inquiry as to where 
he should be expected to go, replied, 
“Get out of the world—go to Wayne!” 
(though, perhaps, in somewhat strong- 
er phraseology), little did he realize 
that this little hamlet, situated six- 
teen miles west of Augusta, and about 
ten miles from Winthrop, would some 
day become famous as the birthplace 
of one of the world’s greatest song- 
birds; yet such is the irony of fate 
that in this town of Wayne, despised 
by the Winthrop constable, and elect- 
ed by him as a fit place to send all 


MUSIC OF THE STATE OF MAINE — 1857-1896 205 


itinerant fiddlers and others whom he 
considered mere instruments of the 
devil, was born one destined to be- 
come an internationally famous singer, 
whose clear, rich contralto voice would 
some day enthrall thousands. 

Like many New England houses the 
birthplace of Annie Louise Cary is a 
two-story frame dwelling with an ell 
at the back, and a wide veranda run- 
ning across the front. From its chest- 
nut stair post to the thumb-latches on 
its upper doors, it is typical of the pe- 
riod and locality in which it was built, 
as are the spacious parlors at the right 
of the front hall which is at the middle 
of the house. 

It stands in a heater at the junction 
of two roads and faces directly up the 
main street and from its front porch 
is an extended view of beautiful Po- 
casset Lake. 

To appreciate fully how this young 
singer was able to overcome the almost 
insurmountable obstacles which beset 
her in her endeavor to secure a musi- 
cal education, such as she alone real- 
ized she must have, if she would one 
day be great, and how she met and 
triumphed over every discouragement, 
one should go back several centuries 
to the time of the Norman barons and 
learn from what redoubtable stock An- 
nie Louise Cary was descended. Suf- 
fice it to say, the Carys never knew 
such a word as failure, and it was such 
a characteristic in this great American 
_ vocalist which enabled her to keep up 
the fight long after others would have 
been ready to acknowledge defeat. 

Simeon Cary, whose paternal grand- 
father, several generations removed, 
had settled in Bridgewater in 1634, was 
a grandson of the Simeon Cary of Rev- 
lutionary renown, and came to Maine 
to settle, bringing with him a wife of 
remarkable musical talent and a son 
who came naturally by those excep- 


tional gifts with which his mother had 
been endowed. This son, an ambitious, 
studious boy, was Nelson Howard 
Cary, destined to be the father of 
Annie Louise Cary. 

Into the Cary home at Winthrop 
came Marcia and Maria Stockbridge, 
two of the daughters of William R. 
Stockbridge, a direct descendant of 
Elder Brewster of Mayflower fame, 
and a prosperous merchant of Yar- 
mouth. On Sundays Mr. Stockbridge 
led the village choir in which his daugh- 
ters had a prominent part. Desiring 
that Maria and Marcia should have 
the best obtainable in the way of cul- 
ture and the facilities for a broader 
education than could at that time be 
obtained in Yarmouth, Deacon Stock- 
bridge decided to send them to a fash- 
ionable academy for young ladies at 
Winthrop. 

It was during a search for a place 
in which to stay, while taking the 
course at the academy, that the Stock- 
bridge girls had come upon the Cary 
homestead, where they were taken in, 
and, with their new found friends, es- 
tablished a veritable little musical com- 
munity of their own. : 

Nelson Cary was, at this time, a 


teacher in the school at Winthrop. He 


had a good robust baritone voice and 
was an unusually good singer for those 
days when voice building was not much 
in evidence in that part of the country, 
and he was an excellent performer on 
the violoncello as well. 

A contributor to the Winthrop Ban- 
ner, in November, 1881, writes of Nel- 
son Cary, “He was a young man of 
good address; tall, straight and mus- 
cular, with blue eyes, light hair and 
florid complexion. Physically he re- 
sembled his father more than his moth- 
er, but his native musical gifts were 
more particularly inherited from his 
mother, who was the sweetest and 


206 MUSIC AND MUSICIANS OF MAINE 


ANNIE LOUISE CARY, AT AGE OF SEVENTEEN, WHEN 


A TEACHER AT THE NORTH SCARBORO SCHOOL- 
HOUSE. 


most charming singer our young ears 
had then heard.” 

Their mutual interest in musical 
matters, as well as the intellectual 
qualities of their minds, naturally at- 
tracted Dr. Cary and "Maria Stock- 
bridge to each other, and in the year 
of 1829 they were married. Annie 
Louise Cary, born October 22, 1841, 
was the youngest of the six children 
with which this interesting couple were 
blessed, as may be seen from the fol- 
lowing extract from the Cary family 
record: 


Cary FAMILY 


Name Birth 
Nelson H. Cary Jan. 1807 
Maria Stockbridge Aug. 1806 

Children 
William Howard Aug. 1830 
Joseph Stockbridge May 1832 
Marcia Angelia May 1835 
Ellen Maria Oct. 1837 
Samuel Edwin Dec. 1839 
Ann Louisa (Annie Louise) Oct. 1841 


Stories of childhood incidents in the 
lives of great people are always of in- 
terest to those who admire them, and 
there are two that those who knew 
Annie Cary as a child in Wayne love 
to tell. 

It is related that, like most New 
England girls of her time, in their 
growing-up days, Annie Cary wore her 
hair in two long braids, such as used 
to be commonly termed, “pig-tails.” 
One day she appeared before her 
mother minus one of these hirsute ap- 
pendages and, on being questioned, ex- 
plained that she had cut it off and 
planted it in the yard “so a hair-tree 
would grow there.” 

The other story is that at about this 
time she exhibited a propensity for in- 
discriminate hair-cutting and insisted 
on trimming the locks of all the chil- 
dren with whom she played, and that 
on a certain occasion at about this 
time one, who later in life came to 
hold one of the highest judicial offices 
in the land, is said to have been obliged 
to beat an ignominious retreat before 
the advance of the determined young 
lady of the brandishing shears. 

Soon after her mother’s death, which 
occurred when Annie Louise was but 
eight years old, the family moved to 
Yarmouth and during certain periods 
she visited a relative in the town of 
Durham. 

To Colonel Joseph Tyler, who taught 
singing school in Durham, Annie Lou- 
ise Cary acknowledged her first music 
teachings. “Col. Joe,” as he was fa- 
miliarly known throughout the coun- 
tryside, received his title through the 
militia. He was one of those to enlist 
in the First Maine Cavalry under 
Colonel Baldwin from Farmington. 
The youthful pupils stood in awe of 
their stern teacher, with his military 
bearing and commanding manner. He 
exacted strict attention from them dur- 


MUSIC OF THE STATE OF MAINE-— 1857-1896 207 


ing the musical hour and fortunate 
was the child who allowed his thoughts 
to wander momentarily from the sub- 
ject in hand if he escaped without a 
thwack over the head with the fiddle 
bow of the master. ‘The notes and 
staff were drawn on the blackboard 
with chalk and it was from such crude 
beginnings that the little Annie Louise 
Cary received her earliest instruction 
in the art of sight reading. Long after 
giving up her musical career, in a let- 
ter to a friend, she wrote, “It was Col. 
Joe from whom I had my first instruc- 
tion in singing, from the blackboard 
and chalk, and he with his fiddle. He 
was a fierce looking man, and we were 
always fearful for the safety of our 
heads, but that is over sixty years ago. 
Alas!” 

When she was sixteen years of age 
she went to boarding school in Gor- 
ham and taught in the North Scarboro 
school near that little town in order 
to help in defraying the expense of her 
tuition. 

In 1860 she was graduated from the 
women’s seminary in Gorham and in 
that year, ambitious to obtain the best 
New England afforded in vocal in- 
struction, she went to Boston to spend 
the winter with her brother, Joseph, 
who had married and settled in that 
city. 

She sang in one of the Boston 
churches during this first winter away 
from her mative state, but, in the 
spring, when the Civil War broke out, 
because her brother was one of the 
first to enlist in the Union cause, and, 
because she was without funds, she 
was compelled again to take up teach- 
ing, so she returned to the little school 
house in Scarboro where she once more 
undertook her work as teacher. 

That she might fulfill the longing 
which possessed her to continue her 
musical education she finally made ar- 


rangements with some friends in Bos- 
ton to assist in the menial duties of 
their household in return for her board, 
and, securing a position in another 
church choir, she was enabled again 
to take up her singing lessons. 

She sang in the chorus of the Handel 
and Haydn Society, but her soul was 
filled with a desire to become a great 
concert and oratorio singer, and while 
she sat with the chorus she would pic- 
ture herself rendering the solo parts of 
the great oratorios. At this period of 
her career Miss Cary made occasional 
trips to Northern New England towns 
where she sang solos in concert’ work, 
and once she sang the contralto solos 
in “Israel in Egypt” with Parepa 
Rosa and the Handel and Haydn So- 
ciety. Her principal instructors in Bos- 
ton were J. Q. Weatherbee and Ly- 
man Wheeler, two of the best vocal 
teachers to be found in New England 
at that time, and, for short periods, 
she studied with J. F. Rudolphson and 
Dr. Gailmette. 

Among the early concerts, at which 
Miss Cary appeared, was Edwin 
Bruce’s Annual Concert at Tremont 
Temple, April 8, 1863, at which, with 
ten other soloists, she assisted. On this 
program she sang in a quartette with 
Theresa Gibson, B. F. Gilbert and 
Henry Clay Barnabee. 

But she realized that hers was a 
voice that required nothing less than 
instruction under the greatest teachers 
the world afforded, so she decided, if 
a way to get there could be found, to 
go to Milan where two of her Ameri- 
can girl friends were already located. 
She could think of only one way to 
raise the money, and, although the 
risk was great, she hired the Boston 
Music Hall, on her own responsibility, 
acted as her own press agent, impres- 
sario and manager, and gave a concert 
which really started her on the road 


208 MUSIC AND MUSICIANS OF MAINE 


ANNIE LOUISE CARY (1866), WHEN SHE FIRST 
WENT ABROAD TO STUDY. PHOTO BY GIULIO ROSSI, 
MILAN. 


to success. Before the summer of 1866 
was over she was in Milan, studying 
with Viadot Garcia,.then generally con- 
sidered the greatest teacher of singing 
of his time, and had, besides, the sum 
of six hundred dollars on which to live 
and complete her musical education. 
The first year abroad was so full of 
discouragements that it would have 
disheartened any but a girl possessed 
of such resolute courage as was Annie 
Cary: 

Her overpowering ambition was 
still to be a great singer of oratorio, 
but her Italian masters could see noth- 
ing for her except opera in which she 
was not at that timein the slightest de- 
gree interested. She had been brought 
up to look on opera and the dramatic 
stage as things to be avoided, things 
that were dangerous, if not positively 
sinful —for the influence of her stern 


Puritan forebears had been passed on 
to her —but to her Milanese teachers, 
on the contrary, it would, of course, 
have been incomprehensible to think 
that there could be any wrong in sing- 
ing on the operatic stage. The people 
on the continent did not seem to care 
for concert and oratorio and, with her 
funds exhausted, and remittances from 
home few and far between, there ap- 
peared to be no alternative but to take 
an engagement in opera, if she could 
get one. This opportunity soon pre- 
sented itself. Hazardous as was the 
attempt to sing in opera, without hav- 
ing first had an opportunity to perfect 
herself in the art of acting, she man- 
aged to keep at it because of her re- 
markable voice with its unusual range 
and beautiful quality, and her cap- 
tivating personality. At first she sang 
small parts, soprano, mezzo contralto, 
tenor or high baritone, at the discre- 
tion of the director. Her first appear- 
ance in opera was in “The Masked 
Ball” at Copenhagen in January, 1868. 
She travelled with this opera company 
for two years, playing in Norway, . 
Sweden and Denmark, receiving in re- 
turn a salary wretchedly small when 
she was able to collect it at all, but 
though, because of her appearance in 
opera she came under the displeasure 
of most of her kin who could have 
given her pecuniary aid, she kept “car- 
rying on,” for she keenly realized the 
derision with which she would be greet- 
ed, should she return unsuccessful. 
Thus she was thrown entirely on her 
own resources in what seemed to her a 
merciless world. She struggled on, bor- 
rowing a few dollars here and a hun- 
dred dollars there, in order that she 
might be enabled to continue her stu- 
dies, until she became so deeply in 
debt that she owed thousands. When 
winter came she continued her tute- 
lage with whom she could, some times 


MUSIC OF THE STATE OF MAINE— 1857-1896 209 


with one teacher and sometimes with 
another. The spring of 1870 found her 
singing in London, and the references 
to her in all the English papers, after 
her London debut, when, at Covent 
Garden, she appeared in Lucrezia Bor- 
gia with her former teacher, Mlle. Ti- 
tiens, were all very flattering for a 
singer sO young. 

Later in 1870, when singing in Brus- 
sells, Maurice Strakosch heard her, and 
promptly offered her an opportunity 
to join a concert troupe which was to 
tour the United States. The Strakosch 
Troupe, with the celebrated Swedish 
prima donna, Christine Nilsson at its 
head, made its first appearance in 
Steinway Hall, New York, in Septem- 
ber, 1870. Miss Nilsson was heralded 
as the Swedish Nightingale, while Miss 
Cary was known to the audience only 
as “A Boston girl who had been study- 
ing abroad.” She then came to realize 
in some degree her ambition to excel 
on the concert stage, for she surprised 
and delighted her audience on this oc- 
casion to such an extent that she is 
said to have fairly divided the honors 
with the great prima donna. This was 
indeed a triumph, for Nilsson was mar- 
vellously fascinating, and was show- 
ered with expressions of the most ex- 
travagant approval. Miss Cary’s vi- 
brant contralto awoke a depth of feel- 
ing in her audience that surprised all, 
critics and public alike, for they real- 
ized that here was at last a voice that 
would forever rival that of the so- 
pranos with whom she would be as- 
sociated. 

From several hundred press notices 
of Annie Louise Cary, which she her- 
self had collected, the following brief 
references will give some idea of her 
progress in her chosen art at this time. 

The critics, almost without excep- 
tion, were in accord. The New York 
Times said, “Miss Cary, the contralto- 


a 


ANNIE LOUISE CARY (1870), ON HER RETURN TO 
AMERICA, AFTER HER LONDON DEBUT. FROM A 
STEREOPTICON. 


and almost mezzo-soprano ofithe troupe 
won great favor before the evening 
was ended. Her voice is even, extend- 
ed, and of a most sympathetic quality, 
and she uses it in a manner indicating 
a culture very complete.” 

The Tribune stated, “She has an ad- 
mirable voice, full, deep, round and 
mellow —a voice like that of Adelaide 
Phillips, with a great deal of that pe- 
culiarly sweet and touching quality 
which seems to belong more or less to 
all American girls who have any voice 
at ale 

The Standard declared, “She is real- 
ly one of the sweetest and most deli- 
cious contraltos who has sung in this 
city for many years. Thereisa rollick- 
ing charm in her singing, which earned 
for her not only a favorable, but a 
most enthusiastic reception. She was 
thrice recalled. Already she is a favor- 
ite with the American people, and she 
may feel assured that the verdict of 


210 MUSIC AND MUSICIANS OF MAINE 


New York will be the verdict of the 
whole country.” 

The Star commented, “In spite of 
the thankless task of singing by the 
side of the world’s greatest, Miss Cary 
has succeeded in winning her own way 
to a good many hearts. Miss Cary’s 
treatment is a study in a certain style, 
and less an individual appreciation and 
treatment than Nilsson’s. The wild 
charm of the latter was wanting; yet 
with what consumate skill Miss Cary 
sang! How carefully, how well! All 
was finished as a Parian vase. It was 
like a rosewood musical box, perfectly 
in tune. Everything was precise and 
true; the force of cultivation could go 
no further. Our despair was that of 
Pygmalion before his statue.” 

So great was her success that with- 
in eight days of her first appearance 
she had become a prime favorite with 
New York audiences, and on the eighth 
evening she was presented with an 
enormous bouquet which was accepted 
in a manner to cause no little merri- 
ment. In describing this incident the 
New York Mai said, “Miss Cary and 
Signor Verger each gave a solo, and 
also sang together in a duo from ‘Don 
Giovanni.’ Both were encored, Miss 
Cary tumultuously. The lady was the 
recipient of a quarter-acre bouquet of 
flowers, which she was able to carry 
off in triumph only by balancing it 
gracefully on her head—to the amuse- 
ment equally of herself and the audi- 
ence.” 

Of her voice, L. B. Barnes, noted 
music critic, wrote, “We heard Miss 
Cary at the same concert for the first 
time since her arrival in this country, 
and can truly say that, for quality of 
voice and an artistic use of the same 
she has few, if any, rivals in this coun- 
try; and were she placed in any other 
connection than by the side of one of 
the greatest of living artistes, she would 


be the recipient of the most flattering 
testimonials to her artistic abilities. As 
it is, she fully shares the honors with 
her associates.” 

While the New York Review of Oc- 
tober thirty-first gave this very flatter- 
ing though entirely truthful notice of 
her attainments: 

“Her’s is emphatically honest, abso- 
lute singing, in which there is not a 
note ‘shirked,’ not a passage, however 
florid, left without its full measure of 
genuine tone or metrical value, noth- 
ing ‘made up’ or dependent upon aught 
but true music for its effect. Miss 
Cary’s voice, ranging from F, below to 
B, above the staff, is rich, mellow, and 
glowing with what is termed ‘warmth’ 
of tone in the chest notes, full, strong 
and resonant in the upper part, and is 
one of the finest contraltos we ever 
heard. Her training has been in the 
best Italian school, for she executes an 
‘aria di bravura’ of Rossini (the great- 
est of writers for the voice) with all 
the solid brilliancy, large style of phras- 
ing, and chiara-oscuro the great mas- 
ter himself could have desired; but 
she also sympathizes strongly with the 
deeper and more thoughtful inspira- 
tions of the classic German composers, 
and can express them reverentially and 
beautifully. Miss Cary, is, in brief, an 
artist of the highest order.” 

This was the turn of the tide with 
Annie Louise Cary. Seventeen con- 
certs were given in Steinway Hall in 
the fall of 1870, and the two thousand 
seats were sold out at every perform- 
ance. The troupe travelled all winter, 
giving over a hundred concerts in all 
parts of the country, every one of 
which but added glory to Cary’s grow- 
ing fame. It is said that at this time 
Miss Cary had only two stage gowns, 
both of which she had brought from 
Paris, a wardrobe hardly sufficient for 
the requirements of seventeen appear- 


: - athe, 
fe cas et ie OMIT ha 


“> 
= 
a? 
4 


eA oe Bit iar es 


re 
ec: 


MUSIC OF THE STATE OF MAINE— 1857-1896 211 


ances in one Metropolitan concert hall, 
yet so completely had she won the af- 
fection of the critical New York public 
that if she had worn the same gown 
every night it would not have mat- 
tered. Neither did it matter to Annie 
Louise Cary for her predominating 
thought at this time was to repay 
those who had aided her in the reali- 
zation of her dreams. Suffice it to say 
that the very first money she received 
went to liquidate her obligations. 

Philadelphia, Providence, Boston, 
Albany, Rochester, and Buffalo, which 
the Strakosch Company visited be- 
tween times, successively capitulated 
before the charm of Miss Cary’s voice. 

On November fifteenth this year 
she sang in Portland City Hall. So ea- 
ger were Maine people to hear her that 
the evening trains over the old Port- 
land and Rochester, Portland and Og- 
densburg, Portland and Kennebec, and 
P. S. and P. Railroads were crowded 
to capacity. Her reception in Portland 
was nothing less than an ovation. The 
account in the Morning Press is inter- 
esting: “For more than an hour prev- 
ious to the time advertised for the com- 
mencement of the concert last evening 
the crowd began to flock to City Hall, 
including the large number of persons 
that had been brought into the city 
over the various railroads from Gor- 
ham, Saco, Biddeford, Bath, West- 
brook and other towns. Consequently 
when the hour of eight arrived the hall 
presented a sight such as has not been 
witnessed for a long time. When we 
say that the aisles were filled with 
chairs, and that the audience over- 
flowed into the lobbies and ante rooms 
Wwe may convey some idea of the 
throng that had assembled to welcome 
their song-bird home. 

“Miss Cary’s appearance was the 
signal for a hearty outburst of ap- 
plause. She came upon the stage with 


a most winning smile upon her face 
and took her station near the piano 
with an easy grace and manner so un- 
affected and pleasing that it was a 
pleasure merely to look at her. She 
was attired in a rich white corded silk 
en traine with corsage trimmed with 
geraniums, and ivy and geraniums in 
her hair. Her only jewelry consisted 
of a magnificent pair of diamond ear 
drops, presented to her a fortnight ago 
by her friends in Boston, and a locket 
of Roman gold. What shall we say of 
her rendering of the cavatina, ‘Ah! 
quel giorno, from ‘Semiramide!’ What 
wonderful fullness and richness her 
voice possesses, so strong and firm in 
its timbre; what smoothness of utter- 
ance, nice modulation of tones, and ex- 
cellent style! Her voice seemed exact- 
ly suited to the florid music of Rossini, 
and the bird-like trills and runs were 
executed with a finish and ease that 
afforded a treat seldom enjoyed. An 
enthusiastic encore was responded to 
most willingly, and ‘Home, Sweet 
Home,’ was the piece selected. A more 
appropriate selection could not have 
been made, and the deafening applause 
that followed the prelude on the piano 
showed how well the audience appre- 
ciated it. She sang that song, the sweet- 
est in the English language, which is 
more familiar probably to all of An- 
glo-Saxon descent than any other, with 
a simplicity and rare melodic truth, 
free from any ornamentation what- 
ever, that went straight to the hearts 
of her hearers and completed the cap- 
tivation. Then came Meyerbeer’s ‘No- 
bil Signor,’ by Miss Cary, abounding 
in the vocal adornments that are a 
feature of this composer. The hungry 
public insisted upon an encore which 
called forth that exquisite ballad, ‘Kath- 
leen Mavourneen,’ rendered with ia 
pathos that almost brought tears to 
the eye. If any one can imagine any- 


212 MUSIC AND MUSICIANS OF MAINE 


ANNIE LOUISE CARY (1873), AS SHE APPEARED AT 
THE CINCINNATI FESTIVALS. PHOTO BY ROCHER, 
CHICAGO. 


thing more tender than the manner in 
which this gifted artist brought out 
the words, ‘Ah, why art thou silent,’ 
we should like to hear it.” 

Miss Cary’s contract with Strakosch 
was for a two-year period. In the sec- 
ond season the troupe produced opera, 
and her great success in this season 
was as Azucena in “I] Trovatore.” 

Her third season in America was 
largely in concert work, and Carlotta 
Patti, who had a reputation, world 
wide, as “Queen of the Concert Stage,” 
and by many considered the equal of 
her sister Adelina, was the soprano of 
the troupe, yet the critics were divided 
again in their opinions as to who was 
the greater singer, some even declar- 
ing that Miss Cary was “incomparably 
the finer singer of the two” and one 
that “Patti was forced to second place 
by the manifest wish of the audience.” 
Her voice must indeed have been al- 
together lovely to have brought forth 
such expressions from the critics in all 


parts of the country, north, south, east 
and west, as these: “She sings more 
like a bird than any one since the days 
of Jenny Lind; her voice, joyous and 
full of laughter makes her music ripple 
like dancing water;” “Her voice is like 
diamonds and pearls, absolutely flaw- 
less, and her personality makes her 
audience her friends;” “She is a glor- 
ious woman with a voice of great pow- 
er; rich, full and satisfactory; singing 
with an honesty of purpose and a fi- 
delity of execution that carries her 
audience by storm;” and “she is the 
sweetest songstress in America and the 
rendering of her songs is brilliant, in- 
tellectual and soulful.” 

During her first season in America 
Miss Cary appeared as soloist in Chi- 
cago in “The Messiah,” and almost 
every winter throughout her musical 
career she found time to make at least 
One Or more appearances in oratorio. 

In May of 1873 she sang at the 
first great Cincinnati Festival organ- 
ized by Theodore Thomas, at which 
she was easily the star. Eight concerts 
were given in one week and her truly 
superb rendering of selections from 
Gluck’s “Orpheus” was pronounced 
“the great artistic success of the Festi- 
val.” It was during this season of 
1872-73 that Rubinstein visited Amer- 
ica and on hearing her sing he said of 
Miss Cary’s voice, “Hers is the most 
beautiful I have ever heard in the 
world.” 

With such unequivocal praise from 
one of the world’s greatest music mas- 
ters, the re-printing of further press 
notices in this chapter seems almost 
superfluous, yet memory is a fleeting 
thing at best and lest it be forgotten 
how truly great this wonderful Maine 
singer was, it is well to re-read a few 
from the multitude of highly flattering 
ones Annie Louise Cary received dur- 


MUSIC OF THE STATE OF MAINE— 1857-1896 213 


ing the memorable years of her event- 
ful career. 

The following excerpt from an edi- 
torial which appeared in the Cincin- 
nati Enquirer in May, 1873, recalling, 
as it does, the adoration which was 
then accorded this singer in all the 
great cities in which she appeared, and 
the mastery of her art as depicted in 
her interpretation and presentation of 
the character of “Orpheus” will for- 
ever be of interest to all with whom 
the name of Annie Louise Cary is 
familiar. 

“But standing magnificently in re- 
lief against the whole picture, (for the 
story was told to impressible minds, 
as plainly as if spread upon canvas be- 
fore them, and imprinted upon the 
souls of the auditors by the superior 
sensuousness of the Art which Gluck 
raised over that of the painter) stood 
the ‘Orpheus’ of the evening. Well 
might Miss Cary have dreaded the or- 
deal; well might she have trembled on 
the first words of the aria, “Thus now 
her death I mourn,’ for she stepped 
then to a task which perhaps with any 
other woman living would have bee:: 
as that to which the soldier bounds 
when he volunteers upon a forlorn 
hope. Yet she began, as genius always 
does in such cases, with a cool confi- 
dence that reassured those who trem- 
bled for her. In all the long recitatives 
she was grand; in the arias, which fol- 
lowed each other without rest or pause, 
she never faltered, the whole score, 
sublime in its very simplicity, being 
rendered note for note in the very 
spirit of the Master. 

“Once or twice, during the appeals 
of ‘Orpheus’ to the gradually relenting 
furies, there were rumblings of ap- 
plause, foretelling the earthquake that 
was to come. When, after the chorus 
had performed ‘Ope then the portals 
wide,’ etc., accelerating and retarding 


with a correctness and readiness that 
spoke volumes for their discipline, the 
final aria, ‘Ah, I have lost my Eury- 
dice!’ was begun without other prep- 
aration than the removal of the deli- 
cate locket from the white throat. 
When it was ended, a storm of bravos 
broke out and were stilled only to 
hear the remaining chorus and or- 
chestral movements. 

“Then again tumult reigned and 
again and again was the diva—for 
such she was to be evermore — called 
to the stage amid the wildest cheering 
we ever heard save once. A memorable 
event in the musical history of the new 
world had been consummated. A mem- 
orable lyric triumph had been record- 
ed, and a never-to-be forgotten hour 
had fallen upon the life of the immeor- 
tal prima donna contralto, Annie Lou- 
ise Cary. Who that heard will ever for- 
get the plaintive 


‘Leave me alone! This grave is sacred to my pain. 
Let no one here remain to view my sorrow.’ 


Or the wierd, sorrowful melody of 


‘Sad and lonely I wait 

There, whence my fair one has flown, 
By the deep, dark sea. 
Oh, hard and cruel fate, 

That doth my suppliant tone 
Re-echo back to me! 

“Who indeed! Not those who were 
present at the greatest triumph Cin- 
cinnati ever saw and certainly not 
those whose souls have drunk in the 
truth that ‘Orpheus’ is the embodi- 
ment of melancholy music, and who 
heard in the wails of the hero the sor- 
rows of all lovers, who have mourned 
for their dead ideals since the world 
began. Yet ‘sublime in its simplicity,’ 
we never expect to hear such another 
composition until Cary and Thomas 
and a May Musical Festival come to- 
gether once more.” 

Other parts in which Miss Cary 


214 MUSIC AND MUSICIANS OF MAINE 


ANNIE LOUISE CARY (1874), AT THE TIME OF HER 
APPEARANCES IN RUSSIA. PHOTO BY BERGAMASSO, 
ST. PETERSBURG, RUSSIA, 


again appeared during this season were 
those of “Frederico” in ‘Mignon’; 
“Azucena” in “Il Trovatore”; “Siebel” 
in “Faust” and “Urban” the page in 
“Les Huguenots”; and in all the cities 
in which she sang she continued to re- 
ceive notices flattering enough to turn 
the head of any girl of twenty-two. 
But as successful as her “Orpheus” 
had been, her “Amneris” won for her 
such enconiums as must have delighted 
her heart. “Miss Cary achieved a mag- 
nificent triumph as the Princess Am- 
neris;” and, “It was a personation 
which places her at the head of all 
American artists,” were among the ex- 
pressions of the critics, while the fol- 
lowing by a musical editor of one of 
the great New York dailies, written 
fifteen years after Miss Cary had 
created the part, bears testimony to 
the greatness of her characterization of 


“Amneris” as compared with that of 
other artists who followed her. 

“The cast was an uncommonly 
strong one, save in the case of Frau- 
lein Hunn, who was entirely over- 
weighted with the grand role of ‘Am- 
neris.’ It is probable that many of the 
habitues of the German opera are 
quite ignorant of the possibilities of 
this part. Certainly, those who never 
heard Annie Louise Cary in it know 
nothing of its scope. If she had been 
on the stage in the great duet of the 
second act Lilli Lehmann would have 


_ met with one of the surprises or her 


career, for, as she went through the 
scene last night, she would have been 
completely overshadowed by the great- 
est ‘Amneris’ that ever walked the stage.” 

It will be remembered that the opera 
“Aida” was originally written on a 
commission from the Viceroy of Egypt, 
who desired an original opera for the 
opening of the new Grand Opera 
House in Cairo. 

Adensey Curiosibhay, Parsee Mer- 
chant of Bombay, having heard Miss 
Cary as “Amneris,” writing to a friend 
in New York, said, “Miss Cary has 
proved herself this winter a perfect 
marvel of not only a powerful and 
sweet singer, but of an actress that is 
almost too good to be in an opera. 
Had she been the original princess in 
the opera of ‘Aida,’ when it was given 
in Cairo, Egypt, Mustapha Pasha 
would have smothered her in diamonds 
and pearls, to say nothing of bales of 
fine cashmere shawls, as her singing 
and acting are perfectly superb.” 

The same season in which “Aida” 
was produced (1874) will be remem- 
bered for the production of “Lohen- 
grin” in New York, but, though it was 
feared that Wagner would prove too 
heavy for audiences that had been ac- 
customed to more tuneful melodies and 
lighter programs, its success was in- 


nd PGS TE ie Toe 


sii aici 


aR 


ae’ 


MUSIC OF THE STATE OF MAINE— 1857-1896 215 


stantaneous, Nilsson, Cary, Campanini 
and Del Puente filled the Academy of 
Music night after night and from this 
time until 1882 Annie Louise Cary 
may be said to have been at the very 
height of her fame and popularity as 
one of the world’s greatest singers. In 
the spring of 1874 Miss Cary’s third 
great triumph of the season came to 
her when she sang Bach’s “Passion 
Music” with the Handel and Haydn 
Society of Boston. Here she again 
revelled in the music of the oratorio 
so dear to her heart, and she after- 
ward said that she was more proud of 
this achievement than of anything else 
she ever did. 

In September, 1874, she again ap- 
peared in opera, this time with Albani 
and Carpi. Her great success this sea- 
son was in Verdi’s “Requiem.” As was 
the custom during these engagement 
seasons the company or troupe would 
give “sacred concerts” on Sunday eve- 
nings at which most of the principals 
sang selections from famous operas, 
but Miss Cary always chose for her 
numbers solos from the oratorios and 
other works of a similar nature, yet 
she was always the favorite at these 
concerts. During November of this 
season Mr. Strakosch brought out Ver- 
di’s “Messa Solenelle,” and the critics 
who were lavish in their praise of the 
work of this Maine artist, in the pre- 
sentation of this great composition, 
pronounced it “all that the most exact- 
ing critic could require.” 

After five seasons in America Miss 
Cary returned to Europe where she 
appeared for two seasons with Adelina 
Patti. In Moscow and St. Petersburg, 
between which the seasons were divid- 
ed, she was literally showered with 
presents of silver and jewels, and was 
wildly applauded at each appearance. 
Here, her interpretation of the role of 
“Amneris” created a veritable sensa- 


ANNIE LOUISE CARY (1879), AS AMNERIS IN THE 
OPERA “AIDA.” PHOTO BY BERGAMASSO, ST. PETERS- 
BURG, RUSSIA. 


tion, and for the excellence of her per- 
formance she was rewarded by the 
Russian Court with a testimonial 
signed by all the dignitaries of that 
august body. This beautiful specimen 
of calligraphy hangs on the walls of 
the Wayne public library to which she 
donated it, together with a generous 
portion of her valuable collection of 
pictures, which she gathered while on 
the continent. 

An anonymous writer in The North- 
ern Border, under the caption of “Na- 
poleon Bonaparte and Miss Cary’s 
Visit to Moscow,” thus commemorates 
in rhyme two events of historical im- 
portance that took place in this Rus- 
sian Metropolis: 


Napoleon went to Moscow, 
The Russian bear to tame; 

Miss Cary went there also, 
To add unto her fame. 

He went with sword and spear and gun, 
She with Apollo’s arts; 


216 MUSIC AND MUSICIANS OF MAINE 


He went to break the Russian’s heads, 
She went to cheer their hearts. 
He studied how to win the game, 
At blood-stained Borodino; 
She strove to higher raise her name, 
And higher pile her “rhino.” 
While Bona caused their wrath to boil, 
Miss C. won admiration; 
She raised a mighty homage blaze, 
He caused a conflagration. 
One kindled love, the other hate, 
Yet still there’s this connection, 
None can deny that both received 
A very warm reception. 


Between the two seasons in Russia 
Miss Cary made a trip to America 
especially to sing at the Centennial 
Exposition in Philadelphia, at which 
she created the wildest enthusiasm. 

In the spring of 1877 she came to 
America again and started on a long 
concert tour with Theodore Thomas 
and his orchestra. Twenty concerts 
were given during this season in which 
Miss Cary was the only soloist. 

The two following seasons (1877-78 
and 1878-79) she spent travelling with 
Clara Louise Kellogg, giving concerts 
for the most part, but occasionally 
presenting operas, among which, of 
course, was the now famous “Aida.” 
One of the critics at this time says, 
“she comes back to us, more bloom- 
ing than ever, and she has lost none of 
her hold on the public favor. The char- 
_acter of Amneris she may be said to 
‘have made her own; she has never 
been more perfectly fitted with a dra- 
matic character, and there are few 
parts which better display the splen- 
dor of her rich voice.” 

After nine years under the manage- 
ment of Strakosch, Miss Cary left him 
in 1879 to join the Mapleson troupe. 
Here she was again associated with 
Campanini, and “Aida” was again pro- 
duced. Miss Cary’s popularity con- 
tinued to increase and she became such 
an immense favorite that some other 
role for her was sought. It was decid- 


ed to revive the time honored “La Fa- 
vorita.” The parts assigned them suit- 
ed both Campanini and Miss Cary, 
and together they made a second sen- 
sation of this season. 

During the season of 1880-81 Etel- 
ka Gerster joined the troupe and “Lo- 
hengren” was again produced. Miss 


Cary’s last appearance in opera was in 


Philadelphia, April 22, 1881, and curi- 
ously enough it was in “The Masked 
Ball,” the identical opera in which she 
had made her bow to the operatic pub- 
lic in 1868. 

Miss Cary’s three greatest persona- 
tions in opera are acknowledged to be 
those of “Leonora” in “La Favorita”; 
“Ortrud” in “Lohengren”; and “Am- 
neris” in “Aida.” One who had seen 
her portray the character of “Amneris” 
writes: 

“From the moment she came on the 
stage in the first act until she knelt, 
weeping over the tomb of Rhadames, 
every word she sang, every gesture she 
made remain stamped on our memory. 
It was not only that she had created 
the part, and made it her own, it was 
also that she never had any successor 
in it. She gave the world its only no- 
table ‘Amneris,’ and not until the pres- 
ent generation has passed away, and 
opera houses in both Europe and 
America, are filled with those who 
never saw nor heard her, will any other 
interpretation of the character fail to 
receive unfavorable comparison with 
that of Annie Louise Cary.” 

Miss Cary’s last. appearance was 
not, however, in opera. 

She sang ‘at a Brooklyn Philhar- 
monic Concert the day following her 
last Operatic appearance, and a week 
later at the Damrosch Festival in the 
Seventh Regiment Armory. Gersta, 
who was also singing at this Festival, 
after hearing Miss Cary sing a solo 
from “The Messiah,” turned to her in 


Oo Ie RAE ad 


FM ie ee SD ae A Ty WE GRY Tey Seer ay 


MUSIC OF THE STATE OF MAINE— 1857-1896 217 


astonishment and said, “Cary, I never 
really heard you sing before. This is 
your place.” 

During the winter of 1881-82 Miss 
Cary was obliged to cancel many of 
her concert engagements on account of 
a throat trouble. One of her note- 
worthy appearances of this season was 
with the Boston Symphony Orchestra 
of which Georg Henschel was the con- 
ductor. 

The Boston Herald of the day fol- 
lowing said: “The audience was en- 
thusiastic in its applause throughout 
the evening but the generous plaudits 
showered upon the leader and his or- 
chestra were as nothing to the spon- 
taneous recognition of the superior ex- 
cellence of Miss Cary’s efforts in her 
two numbers.” ' 

In the spring of 1882, when the sec- 
ond Festival was organized by Theo- 
dore Thomas, it was announced, in the 
prospectus, that Miss Cary would be 
one of the soloists, but when the first 
night came the audience was disap- 
pointed to find printed slips scattered 
through the house stating that she 
would be unable to appear. On Sun- 
day afternoon, the last concert of the 
Festival, she was there, and, although 
it required almost superhuman effort 
to go through with her part, she over- 
came her trouble temporarily and sang 
her number with that dramatic power 
and perfection of vocal art that had 
distinguished all her previous perform- 
ances, in the twelve years of her pro- 
fessional career. The enthusiasm on 
this her last appearance was great, and 
the following from the New York 
Times of the next morning gives some 
idea of the ovation that was accorded 
her. 

“Her entrance produced a demon- 
stration. Audience and chorus rose to 
receive her, and she was welcomed with 
a fervor which published in unmistak- 


ANNIE LOUISE CARY (1880), AT THE TIME OF HER 
LAST APPEARANCE IN PUBLIC. PHOTO BY ROCHER, 
CHICAGO. 


able language the depth and sincerity of 
the affection felt for her in New York.” 

In June, 1882, Miss Cary married 
Charles Monson Raymond of New 
York and for twenty-seven years, until 
Mr. Raymond’s death, they lived hap- 
pily together, at first in New York and 
afterwards at Norwalk, Conn. Their 
winters were spent in Italy, and a few 
weeks of each summer at Scarboro 
Beach, in Maine. 

Though after her marriage and her 
retirement the greater part of her time 
was occupied in her devotion to her 
husband and to her charities, with 
three other ladies she formed a quartet 
for which the name of the Berkeley 
Quartet was chosen, and, for a num- 
ber of years, these ladies met and sang 
for mutual pleasure or brightened the 
hours of the shut-ins of New York by 
visiting the hospitals and singing for 
them. 


218 MUSIC AND MUSICIANS OF MAINE 


In August, 1888, a Scarboro corre- 
spondent to the Boston Herald wrote: 

“Here, on Tuesday evening, when 
the frivol was at its fresh beginning, 
when the sound of the first waltz and 
the polka was just dying out, a clus- 
ter of chords was struck upon the 
piano that were neither a waltz nor 
polka, and then suddenly, unexpect- 
edly, a voice that all summer we 
had longed to hear was heard above 
the piano chords, above the hum of 
voices in hall and office, and outside 
on the broad piazzas. The song was a 
very simple one, that tender, pathetic 
‘Darby and Joan’ of Molloy’s. But the 
voice was the voice of Annie Louise 
Cary, now Mrs. Raymond. People 
were talking all about the office and 
the hall and the piazzas, in the usual 
idle and aimless manner, when that 
first note rose upon the air. As this 
was followed by another and still an- 
other note, a curious hush fell upon 
the crowd; then, with one impulse, 
everybody turned toward the parlor, 
while those who were on the piazzas 
flung up the windows and leaned in. 
There was something oddly impressive 
in the silent listening throng. Even the 
children drew back and looked at the 
singer with wide eyes, as her voice 
floated out in those tender strains. 
With the older people this hushed at- 
titude was significant of the knowledge 
they had that this was a rare occasion, 
and that they must make the most of 
ate 

And a week later the same contrib- 
utor adds: 

“Tt was a week ago, on Sunday aft- 
ernoon. A party of young Canadians 
with charming voices, opened upon 
Faure’s ‘Les Rameaux’ and Mrs. Ray- 
mond, standing near, joined in the 
chorus. A little later in the evening, 
standing beside the piano in just the 
old way we recall so well, she sang 


‘Rest in the Lord,’ and “The Lord is 
Mindful of His Own.’ Following these 
she gave us “The Lost Chord,’ and, by 
request, that tear bringing song, ‘Doug- 
las, Douglas, Tender and True.’ I 
don’t think there was a dry eye among 
the listeners. It is not the greatness of 
a voice alone that does this; it is the 
power that lies behind it—the power 
of character and sympathy. I had 
heard the ‘Douglas’ sung deliciously 
by other singers, but they did not put 
into it or rather express what Mrs. 
Raymond did. Others whom I had 
heard left you in your tears, with your 
heart aching. Annie Louise Cary lifted 
you in spite of your tears into a higher 
and stronger atmosphere. When I 
spoke of her in my former letter as 
only singing in private to her domestic 
circle of friends, I did not then know 
that in some of the hospitals in New 
York her voice was frequently heard— 
that in the Maine General Hospital in 
Portland, where she has placed a free 
bed, she also sings, and indeed at 
many charitable institutions she not 
only helps to heal the stricken ones by 
the enchantment of her song, but by 
homelier ways of service. ‘She is a 
Maine girl, God bless her,’ said one of 
her friends, in speaking of her. A 
Maine girl, the daughter of a physi- 
cian, her hearty sympathy turns to her 
native state. It is the charity that is 
not content, however, to work in ruts, 
but diffuses itself with liberal love 
wherever there is need. 

Although most of her time after her 
marriage was devoted to her home and 
the New York Diet Kitchen in which 
she became deeply interested, for a 
short time she appeared occasionally 
in concerts for charity. For a number 
of years she was a member of the Ru- 
binstein ‘Club of New York and al- 
though she sang with the chorus on a 
number of occasions, she could never 


Ne ae een ee ee 


ee eee ee ee ee ee ee ee ee 
if A 


MUSIC OF THE STATE OF MAIN E— 1857-1896 219 


again be induced to sing a solo. She 
seemed to prefer that all should re- 
member her as at her best. There was 
no farewell performance, and the pub- 
lic never knew when she finally made 
her last bow. Annie Louise Cary was 
not only a great singer, but she was 
possessed of a noble soul. She had no 
whims or caprices, and even the or- 
chestra loved her. She died at her 
home in Norwalk, April 3, 1921 —the 
last to survive, but one, of the six chil- 


dren of Nelson H. and Maria S. Cary 


—twelve years after the death of her 
husband. Mrs. Raymond bequeathed 
several funds for continuing a number 
of the charities in which she was inter- 
ested, among which were the free bed 
and room at the Maine General Hos- 
pital in Portland, known as the Annie 
Louise Cary Room, and another at 
the Central Maine General Hospital 
in Lewiston, known as the Nelson 
Howard Cary Room, in memory of 
her father. The endowments she pro- 
vided for these two eleemosynary in- 
stitutions will forever bear mute testi- 
mony to the generous heart of Annie 
Louise Cary and always remain a 
monument to the love she bore her 
native State. 

Samuel Thurston in his Remuinis- 
cences says, “Whenever she was in 
Portland she came to our choir at the 
First Parish and joined us in singing. 
The last time she came she sang Men- 
delssohn’s ‘But the Lord is Mindful of 
His Own,’ with a rendering new to me, 
though I had heard it many times and 
by some famous singers. But her grand 
voice and broad, noble style, with her 
heartfelt fervor, was beyond compari- 
son with all previous renderings.” 

On her visits to Portland and Gor- 
ham and other towns of her youth 
Annie Louise Cary would invariably 
take a place in the choir of the church 
on Sunday, and many a service in a 


little country church was enriched by 
the superb voice of this singer and 
many an old acquaintance was thus 
given an opportunity to hear her, in 
the kind of music she herself loved 
best. - 

She loved her State of Maine to the 
last, and to it she referred in many of 
her letters. ‘What a wonderful State 
is ours, and I am glad to have seen so 
much of it,’ was a statement in one 
of the last that she wrote. 

In compliance with one of her last 
requests, the State of Maine flag was 
placed inside her casket and was bur- 
ied with her body in its final resting 
place. 

An editorial in the Boston Evening 
Traveller, on the occasion of her ap- 
pearance at a complimentary concert 
tendered Flora Barry, paid her this 
tribute: “To Annie Louise Cary is 
given, not only the matchless voice, 
the marvellous power to charm; but 
the charm is enriched and made per- 
manent by the soul that shines through 
the beautiful eyes, the dignity and 
nobleness of character which the na- 
tion holds in honor, and which will ever 
insure to Annie Louise Cary-Raymond 
the place of the greatest lyric artist 
that America has ever produced.” 

The following alliterative acrostic 
was written of Annie Louise Cary by 
one who admired her from afar. 


Cary Carols! Carking Care 
Admonished, As her Art Appears, 
Retreats, and Rapture, Rejoicing, Recalls 
Ye Youthful Yester- Years. 


Hers was a triumphant and resplend- 
ent career, but with all her success, she 
remained throughout her life a noble 
woman, unselfish and unspoiled —a 
distinguished representative of the only 
type of true nobility known on the 
Western Hemisphere. 


CHAPTER WI 


Tue Music oF THE STATE OF MAINE 
FourtTH Perrop 1897 - 1928 


The Maine Music F eating 


The staunch old hills are listening — listening — 
For the strains that float afar, 

And the rippling rills are hastening—hastening— 
Where the tuneful measures are. 

Where the pine trees shed their fragrance 
Where the breakers chant refrain, 

Happy days are nearer bringing 
Sounds of melody in Maine. 

The leaflets soft are rustling — rustling — 
In the fair old Pine Tree State; 

And the waves are ever breaking — breaking — 
Where her grateful children wait — 

Wait with longing, wait with rapture 
For the thrill of song again, 

For the chorals grand that bring us — 
Bring us melody in Maine. 


— Caroline W. Stevens. 


HE inauguration of the Maine 
Music Festival in 1897 marked 
the beginning of the Renaissance in 
Music in the State, for with it came 
the successful development of a great 
chorus of State dimensions and the op- 
portunity to study more difficult clas- 
sical choral works than any that had 
hitherto been undertaken; to support 
and listen to the greatest living vocal 
artists in the world, to present local 
talent before the largest audiences ever 
assembled in Maine, to perform com- 
positions by Maine composers before 
the musical people of the entire State, 
and to study under a director of wide 
experience and exceptional talent. 
The Maine Music Festival, under 
the direction of William Rogers Chap- 
man, became and continued to be for 
more than a quarter of a century one 
of the institutions of Maine, and it was 
recognized throughout the country as 
one of the foremost annual musical 
events in America. 
Bangor and Portland newspaper ref- 


220 


erences to the Maine Music Festival, 
and its assisting artists, have been free- 
ly quoted in the musical journals and 
magazines, not only of America, but of 
the world. 

Its wonderful concerts have been the 
inspiration of many Maine singers. 

Who is there, who remembers that 
first Maine Music Festival in Port- 
land, that does not recall the event 
with a glow of pleasure! The day of 
the festival, the streets seemed thronged 
with people going to and from the re- 
hearsals; and carriages, both hired and 
privately owned, dashed hither and 
thither, carrying those eleventh hour 
patrons who desired to get one or more 
of the best seats possible for the great 
event at that late date. 

There was a joyousness in the very 
atmosphere which was infectious and 
faces were aglow with pleasure at the 
thought of the inspiring event about 
to take place in their midst. ‘There 


~was no gloom visible in Portland on 


that day and the spirit abroad in the 
land was more akin to that found at 
Christmas time than has ever been 
noted, except at some of the succeed- 
ing festivals. 

And then came the eventful first 
concert on that never to be forgotten 
October evening. The air was fairly 
tremulous with the suppressed excite- 
ment of the audience which completely 
filled the great Armory Building. There 
was the magnetic conductor, the beau- 
tiful Blauvelt and the glorious Nordi- 
ca. What thunders of applause shook 
the old Armory shed and reverberated 
from its uncouth rafters which had been 


MUSIC OF THE STATE OF MAIN E— 1897-1928 221 


WILLIAM ROGERS CHAPMAN, FOR THIRTY YEARS CONDUCTOR OF THE MAINE MUSIC FESTIVALS, AND HIS 
WIFE, EMMA FAULKNER CHAPMAN. PHOTO BY DEVORE, SAN DIEGO, CAL. 


partly hidden by the colorful decora- 
tions; what richness of vocalization 
was Blauvelt’s; what artistry was Nor- 
dica’s; what precision of attack and 
phrasing of melodies by the chorus! 
And in a few hours, such as Maine 
musicians have seldom experienced, 
that first night was but a recollection 
—but one that will be recalled as long 
as memory serves, as a golden mile- 
stone in the history of Maine music. 
From that first experimental Festi- 
val in Portland was developed the plan 
for the organization of the Eastern and 
Western Maine Music Festival Asso- 
clations, and in 1898 and 1899, when 
these plans had been perfected, F. O. 
Beal of Bangor was elected President 
of the Eastern Maine Festival Associa- 
tion and Edward Alling Noyes of Port- 


land, President of the Western Asso- 
ciation. 

A chorus was organized in every 
county in the State, and during the 
thirty years of its life more than five 
thousand singers became its members. 

All of the great oratorios were sung 
and during the last five years of its ex- 
istence Operas were rendered in cos- 
tume and with action, among which 
were “Waust) “Carmen”. “Aida; “Il 
Trovatore” and “Martha,” while oth- 
ers were given in concert form. 

Mr. Chapman brought to the Maine 
Music Festival some of the greatest 
artists the world has ever known. Many 
of these made their American debut in 
the concert world at these Festivals, 
numbered among whom were Ernes- 
tine Schumann Heink, Amelita Galli 


222 MUSIC AND MUSICIANS OF MAINE 


igs 
SaRere 


EDWARD ALLING NOYES, FIRST PRESIDENT OF THE 
WESTERN MAINE FESTIVAL CHORUS. ENGRAVING 
BY J. A. J. WILCOX, BOSTON, MASS. 


Curci, Lillian Blauvelt, Nina Morga- 
na, Gwilyn Miles and Evan Williams. 

The Maine Symphony Orchestra, 
which was also organized by Mr. Chap- 
man, was composed of some of the 
best professional instrumentalists to 
be found in the State. 

Horace D. Pullen, R. B. Hall, Frank- 
lin Holding, Bret H. Dingley, Frank 
Burnham, Willard Mayberry, Wood- 
bury P. Harrington, Charles Brooks 
and Dr. Oscar E. Wasgatt, who was 
concertmeister, were among those who 
were members of the orchestra, which 
in some seasons gave twenty-five con- 
certs in Maine and New Hampshire 
besides assisting at the Festivals for 
a period of ten years. 

It would be impracticable to attempt 
to give in this volume a complete list 
of all those who sang in the Maine 


Festival Chorus since its beginning, 
but the following were members of the 
Festival Chorus for twenty or more 
years; and those marked with an as- 
terisk were members for the full thirty 
years of its existence: 


Portland — William C. Allen,* Margaret S. 
Bryant,* Mrs. J. H. Burnham,* Mrs. Martha H. 
Hill,* Alice H. Nelson,* Arthur D. Pierce, 
Charles E. Roby,* Clara B. Smart,* Mrs. A. B. 
Taylor,* A. B. Taylor,* Albert S. Woodman,* 
Louise H. Armstrong, Susan G. Coffin, Charles 
R. Lewis, Joseph W. Thaxter, Walter F. Haskell, 
Ellen C. Goudy, Mrs. Alice Goudy Farley, A. 
W. Pierce, Mrs. A. W. Pierce, Mrs. John O. 
Winship, Mrs. Clyde W. Pierce. Lewiston and 
Auburn — Edwin L. Goss,* Mrs. W. W. Harts- 
horn,* Mrs. C. A. Litchfield,* Mrs. Frank A. 
Morey,* Berdena Channell, Mrs. Abbie Em- 
mons, Mrs. Annie Skolfield, Mrs. William Stev- 
ens, Murray Watson, Mrs. Seldon T. Crafts, 
Seldon T. Crafts, Mrs. Augusta Doyle, Mrs. 
Warren W. Gledhill, Joseph J. Jackson, Albert 
L. Kavanaugh, Lucy Lane, Carrie Miller, Wini- 
fred L. Shaw. Rockland —E. F. Berry,* Mrs. 
E. F. Berry, Mrs. Oscar Burns,* Mrs. M. B. 
Cook,* Mrs. J. H. Flanagan,* Mrs. G. W. Fos- 
ter,* Mrs. L. N. Littlehale,* Mrs. Ambrose 
Mills,* Sarah Sanson,* George Torrey,* Mrs. 
James Wight,* Mrs. Edna C. Brown, Mrs. F. S. 
Sherman, Mrs. J. R. Flye, Mrs. Florence Mc- 
Millan. 
Magoun,* Frostina E. Marston,* Mrs. Charles 
L. Oliver,* Margaret Adams, Mrs. Herbert S. 
Harris, Mrs. Robert A. Toothaker, Lloyd G. 
Duley, Agnes W. Humphreys, Bessie Hunt, 
John Shaw, Mrs. John Shaw. Brunswick — 
Alice S. Dunning,* Mrs. A. J. Hutchinson,* 
Mrs. E. L. Crawford, Mrs. C. A. Warren. 
Kennebunk — Carrie B. Burke, Mrs. Carrie E. 
Emmons, Mrs. Frances M. Goodnow, Bertelle 
A. Smith, Mrs. Bertelle A. Smith. Biddeford 
and Saco— Grace Burbank,* Mme. H. P. Re- 
nouf,* Rose A. Garand, Alice Haskell, Isabel 
Libby, Effie W. Talbot. Bangor — Mrs. M. D. 
Barnes,*: J. M. Bright,* Mrs. J. M. Bright,* 
Robert T. Clark,* Mrs. Robert T. Clark,* EI- 
via M. Burrill,* Helena M. Tewksbury,* Wil- 
bur Cochrane,* F. A.. Edwards,* Mabel Gar- 
land,* Elizabeth Hayes,* Gertrude Simpson,* 
Harriet L. Stewart,* Mrs. William P. Thomp- 
son,* Josephine M. Wiggin,* Mrs. Frederic 
Fox,* B. F. Farrington,* Bessie Bailey, Mrs. 
Wade Brackett, Mrs. Harris N. Doe, Elizabeth 
Firth, Emily Merrill, Mrs. W. N. Gardiner, 
Mrs. C. L. McCurdy, Mrs. Galen Pond, Caro- 
line Allen, Hannah Clapp, Frank R. Atwood, 


Bath —Mrs. F. D. Hill,* H. Emma | 


| 
| 
; 


PES ae a 


P> 
\ 


ee ee Ee ee I eee ee ee re a 


MUSIC OF THE STATE OF MAINE — 1897-1928 223 


Mrs. Frank R. Atwood, Emma Devoe, Mrs. 
F. W. Jacques, Sara F. Field, Cora M. Pendle- 
ton, Mrs. Samuel T. White. Skowhegan — J. N. 
Smith.* Old Town — Mrs. Caro Conant, Susie 
Dunphy, C. A. Elkins, Alice Gammon, F. W. 
Phelps, W. H. Powell, Ardelle Sawyer, T. H. 
Violette, W. H. Waterhouse, George Webster, 
Mrs. Louise Averill, Mrs. G. E. Landry, Mrs. 
F. W. Phelps, Mrs. C. W. Robbins, Mrs. Ella 
Sawyer, Effie Webster. Calais — Olive Maher,* 
Emily Bates, Alice Bates, Mrs. Elizabeth C. 
Boardman, Mrs. W. E. Mann, Mrs. C. F. Pray, 
Emma Robbinson. Ellsworth — Harry L. Crab- 
tree, May Bonsey, Harriet K. Giles, Alice S. 
Jellison. Machias — Alfred K. Ames, Frank S. 
Ames. 

The Maine Music Festivals consti- 
tuted, without doubt, the greatest se- 
ries of musical events, under the direc- 
tion of one conductor, Maine has ever 
known, and from the beginning the 
Festivals were practically self-support- 
ing. 
Throughout the years of the Maine 
Music Festival Mr. Chapman was 
ably aided by his diplomatic and ac- 
complished wife in his efforts to make 
each festival an unqualified success. 

In recognition of the service which 
Mr. Chapman rendered the State 
through his Festivals, he was given the 
Honorary Degree of Doctor of Music 
at the University of Maine, at Orono, 
in June, 1926. 

In 1927 a tree was planted in honor 
of Dr, and Mrs. Chapman in the Hon- 
or Grove in Central Park, New York. 

But the magnificent achievement of 
the great Music Festival which has an- 
nually delighted thousands of music 
lovers for thirty glorious years could 
not have been accomplished had it not 
been for those public spirited citizens 
who sustained it by subscribing liber- 
ally to its support. 

Foremost among these was Edward 
Alling Noyes, banker and philanthro- 
pist, whose financial support and pow- 
erful influence made possible the first 
great music festival and whose per- 


HON. F. O. BEAL, FIRST PRESIDENT OF THE EAST= 
ERN MAINE FESTIVAL CHORUS. 


sonal interest in its welfare was one of 
the strongest factors in sustaining it 
through its first critical years. 

Mr. Noyes was not only a great mu- 
sic lover, but he was an excellent mu- 
sician himself. His fine tenor voice 
gave pleasure to many when he ap- 
peared in amateur entertainments giv- 
en for charity in Portland or led the 
music in the old Park Street Church 
in that city. He served as President 
of the Western Maine Music Festival 
Association for nearly nineteen years, 
until his death, which occurred on 
May 24, 1916, and at one of the con- 
certs in the <tall- of that year, as a 
tribute to his memory and an expres- 
sion of sorrow at his death, while the 
audience sat in silence, the Festival 
orchestra played Chopin’s Funeral 
March. 

On the death of Mr. Noyes, Albert 


224 MUSIC AND MUSICIANS OF MAINE 


S. Woodman of Portland was elected 
President of the Western Maine Fes- 
tival Association and he served in that 
capacity until after the last Festival 
was given in Portland. 

In Bangor, Hon. F. O. Beal, with 
his assistants, built the auditorium for 
the Eastern Maine Music Festival and 
they labored together to create and 
sustain local interest and enthusiasm 
in the undertaking. After Mr. Beal’s 
death the Bangor Chamber of Com- 
merce took up the work and for years 
this organization assumed all the fi- 
nancial obligations of the Eastern 
Maine Music Festival. 

Harry W. Libbey succeeded Mr. 
Beal as President of the Eastern 
Maine Festival Association and the 
presidents since that time have been 
Harold Hinckley, 1921; Douglass A. 
Crocker, 1922; Otis Skinner, 1925; 
and Clarence C. Stetson, 1926. 

Presidents of the local units of the 
Maine Festival Chorus have been: 


(Eastern Section) Augusta, Dr. G. M. 
Twitchell, Andrew G. Ward, Charles A. Milli- 
ken, Alice M. Richards, Dr. E. J. Roberts, C. 
Bryce Little; Bangor, Mrs. H. L. Jewell, Albert 
B. Taylor, Charles J. Wardley, Charles H. Hub- 
bard, George L. Francis, C. D. McCready, F. R. 
Atwood; Bar Harbor, Frank C. Whitmore; Bel- 
fast, R. P. Chase, Rev. Adolph Rossbach, Ralph 
I. Morse, Rev. J. M. Leighton, C. O. Poor; 
Blaine, Henry C. Goss; Bucksport, Rev. Henry 
W. Webb, Mrs. Albert C. Swasey, Mrs. James 
L. McInnis; Calais, Dr. Charles Swan; Caribou, 
Atwood W. Spaulding; Cherryfield, F. I. Camp- 
bell; Dexter, Harry E. Hale, M. Olive Winslow, 
Charles W. Yeaton; Dover-Foxcroft, Mrs. W. L. 
Sampson, E. D. Merrill, Walter J. Rideout; 
Eastport, W. F. Bradish; Ellsworth, Rev. J. M. 
Adams, Rev. W. R. Hunt, H. E. Davis, John J. 
Whitney, O. W. Tapley; Farmington, H. Her- 
bert Rice, Mrs. Mittie T. Wade; Fort Fairfield, 
W. W. Slocumb, A. O. French, Charles S. Os- 
borne; Gardiner, Rev. R. W. Plant; Guilford, 
J. T. Davidson, Mrs. J. S. Williams, Mrs. C. P. 
Turner; Houlton, J. O. Wellman, G. E. Mc- 
Ilwain, Lena Lord, Rev. John Nason; Jonesport, 
Mrs. U. C. Norton, Mrs. John Sawyer, Mrs. 
Willard M. Hinkley; Machias, P. H. Longfellow, 
Eugene C. Donworth, Frank S. Ames; Last 


Machias, Harry R. White, Emil Hermes, George 
F. Cary; Millinocket, E. E. Morse; Milo, Mil- 
dred L. Chapman; Monson, Dr. F. L. Varney; 
Oakland, D. E. Wheeler, Nora Bartlett Greeley; 
Old Town, W. H. Powell, Frank W. Phelps, 
Charles A. Elkins; Orono, W. M. Munson; Pitts- 
field, Mrs. Florice E. Marden, Mrs. Nellie M. 
Hunnewell, S. R. Oldham, Florence S$. Buxton; 
Presque Isle, Mrs. Ida H. McNamara, Rev. 


_ W. A. Sparks; Richmond, Walter H. Sturte- 


vant; Skowhegan, H. F. Kimball, J. Harvey 
White, R. E. Atwood, Gladys Pennell, Frank 
Oddy, Ethel Christenson, J. N. Merrill, M.D., 
J. N. Smith; St. Croix, Henry B. Eaton, Dr. 
C. E. Swan; Waterville-Fairfield, Prof. C. B. 
Stetson, Prof. F. W. Johnson, H. L. Tappan, 
H. D. Bates, Mrs. F. E. Boothby, Hon. F. E. 
Boothby, Mrs. Edbert Kelley. 

(Western Section) Bath, John S. Hyde, Ar- 
thur B. Stearns, George W. Dean, John Shaw, 
Allen Irish, Mrs. George D. Berry, Mrs. Grace 
D. Warren, Lloyd G. Duley, Herbert E. Wil- 
liams, Rev. David L. Wilson, H. Emma Ma- 
goun, Robert S. Gordon, Mrs. Brenda F. Hill; 
Bethel, Dr. I. Henry Wight, Charles E. Valen- 
tine, A. E. Herrick, Rev. Arthur Varley, Rev. 
A. D. Colson, Mrs. G. R. Wiley; Biddeford- 
Saco, Mrs. H. Hamilton, Dr. F. L. Davis, M. 
Isabelle Libby, J. Harry Seidel, Mrs. Albert H. 
Day, W. L. Elmer; Boothbay Harbor, Mrs. A. 
E. Nickerson; Bridgton, F. W. Seavey, Mrs. 
Raymond Larrabee, Hon. L. F. McKenney; 
Brunswick, F. E. Woodruff, Stephen C. Whit- 
more, Henry L. Chapman, Mrs. A. J. Hutchin- 
son, Mrs. E. L. Crawford; Buckfield, Horace A. 
Irish, Stephen C. Heald; Cornish, Rev. T. M. 
Davies, Rev. O. W. Peterson, William R. Copp; 
Cumberland Center, Frank H. Chase; Damaris- 
cotta-Newcastle, J. P. Ridley, William Keene 
Hilton; Deering, Dr. W. H. Kimball; Freeport, 
A. C. Bowden, Silas N. Adams, Harley R. 
Adams, H. R. Alden, Annie F, Hunter; Gray, 
H. C. Marsden, W. S. Eaton, Mrs. A. M. An- 
drews, George T. Hill, Mrs. Lena S. Merrill; 
Harrington, Mrs. E. M. Frye; Kennebunk, Leon 
B. Rogers, Charles H. Cole, Bertelle A. Smith, 
Ralph E. Arey, Mrs. C. W. Goodnow; Kenne- 
bunkport, Walter Lane; Lewiston-duburn, Hen- 
ry W. Oakes, Mrs. S. P. Robie, Mrs. W. H. 
Hartshorn, Murray Watson, N. L. Mower, Al- 
bert L. Kavanagh, Mrs. Seldon T. Crafts, J. J. 
Jackson, Seldon T. Crafts, Edwin L. Goss, E. S. 
Pitcher, Mrs. Warren W. Gledhill; Livermore 
Falls, Dr. George H. Rand, Rev. Blanche A. 
Wright; Mechanic Falls, May A. Hawkes, C. A. 
Cousens; Norway, Herman L. Horne, Carl Har- 
mon, E. Elliot Tower; Portland, John B. Coyle, 
James F. Macy, George E. Smith, E. F. Tomp- 
son, Albert S. Woodman, Marshall Davis, Solo- 


bE ak ee Te 


MUSIC OF THE STATE OF MAINE-— 1897-1928 225 


mon W. Bates, Charles R. Lewis, Ernest J. 
Hill; Rockland, Dr. T. E. Tibbets, Joseph H. 
Kalloch, Edward F. Berry, Osmond A. Palmer, 
Raymond K. Greene; Rumford, Mrs. Emma 
Talbot Mitchell, Daniel McMaster, Charles A. 
Mixer, Harry Tozier, [Siete Kennard: Sanford- 
Springvale, Rev. J. B. Ranger; South Berwick, 
Sara J. Morton, Mrs. F. W. Freeman, John B. 
Whitehead, Benjamin A. Ilsley; South Paris, 
Mrs. J. S. Wright, Rev. A. K. Baldwin, J. Hast- 
ings Bean; Turner, F. A. Ricker; Westbrook, 
Walter F. Haskell, Mrs. John O. Winship; Wil- 
ton, Rev. J. R. Clifford, Mrs. J. R. Bass; Yar- 
mouth, Irving F. True, Charles G. Woodman, 
Dr. G. L. Sturdivant, Mrs. L. W. Riggs, H. B. 
Hodsdon. 


From some of its most talented 
members the local conductors and ac- 
companists of the various choruses 
were selected. 

Among those who directed these 
local choruses were: 


(Eastern Section) Augusta, Hon. Warren C. 
Philbrook, L. B. Cain, Dr. Latham True, J. 
Francis MacNichol, Edward H. Wass, E. L. 
Goss, Adelbert Wells Sprague; Bangor, George 
S. Silsby, Prof. Karl P. Harrington, Frank B. 
Lane, Adelbert Wells Sprague; Bar Harbor, 
Maurice C. Rumsey; Belfast, E. S. Pitcher; 
Bucksport, Ethyl G. Taylor, Mrs. Edwin Lan- 
dry, Wilbur*S. Cochrane; Calais, Dr. H. B. 
Mason; Caribou, Mrs. Emma Talbot Mitchell; 
Cherry field, Henry I. Bowles, E. R. Wingate: 
Dexter, J. Willis Crosby, Mary J. Cowie; Dover- 
F oxcroft, W. E. Ayer, Mrs. A. E. Farwell, Alice 
Genthner, Mrs. Lilla Atherton; Eastport, eG: 
Beale; Ellsworth, F. W. Rollins, Rev. P. A. A. 
Killam, | gael Crabtree, O. W. Tapley; Farm- 
ington, Prof. George C. Purington; Fort Fair- 
field, Rev. George B. Nicholson, Rev. T. E. 
Chappelle, Mrs. E. K. (Guild; Guilford, sand he 
Davidson, Helen Cobb, Mrs. N.N. Scales; Har- 
rington, Helen Beebee; Houlton, E. L. Cleve- 
land, Jr. G. E. Macliwain, Mabel A. Harris, 


_ E.L. Cleveland; Jonesport, Mrs. Charlotte Nor- 


ton; Machias, Ella T. Longfellow, F. S. Ames, 
A. D. Ralph, Mrs. Addie Mahan, Mrs. A. D. 
Ralph; East Machias, Mrs. George F. Cary, 
Mrs. S. M. Rose;. Millinocket, E. L. Lowell; 


~ Milo, Ethel M. Peterson; Monson, Rev. Joseph 


Grossa; Oakland, Rev. P. A. A. Killam, George 
D. Pullen; Old Town, Mrs. G. E. Webster, 
George S. Silsby, Mrs. G. E. Landry; Orono, 
H. M. Estabrooke; Pittsfield, H. L. Williams, 
Grace A. Rogers, Don Morrison, E. S. Pitcher, 
Howard T. Pierce; Presque Isle, Dr. W. F. Mc- 
Namara, Rev. W. A. Sparks, Rev. T. E. Chap- 


pelle; Richmond, Walter H. Sturtevant; Skow- 
hegan, H. F. Kimball, J. N. Smith, Elmer E. 
Towne, H. A. Smith, R. W. Leighton! Mrs. 
Rose A. Borden, Marguerite Craig; St. Croix, 
F. H. Lowell, oe H. B. Mason, Allan Haycock, 
Aubrey Denar. Mrs. W. E. Mani: W aterville- 
Fairfield, George Pratt Maxim, é Brain 
Latham True, Rev. Paul Sperry, Cecil Maurice 
Daggett, H. A. Smith, Inez F. Armstrong. 

(Western Section) Bath, Harry McLellan, 
Arthur Hyde, Frederick E. Drake, Ne: Mower, 
Rev. Paul Sperry, Ernest L. Crawford, Fred- 
erick E. Drake; Bethel, Bennett C. Snyder, 
C. E. Valentine, Dr. G. L. Sturdivant, Karl Les- 
ter Tower; Biddeford-Saco, (aed Painchaud, 
Linh: Cain, Dr. H. M. Nickerson, F. W. Stim- 
son, W. E. Cole, Madame Heloise P. Renouf; 
Boothbay Harbor, Mrs. A. E. Nickerson; Bridg- 
ton, or ski MM: Nickerson, Dr. Latham True, 
Mrs. Grace March Cook: Brunswick, H. 
Kotzschmar, L. B. Cain, N. L. Mower, A. R. 
Frank, Rev. Paul Sperry, Ernest L. Crawford, 
Howard Pierce, Mrs. C. A. Warren; Buckfield, 
Mrs. Horace A. Irish; Cornish, Mrs. Harry P. 
Jameson, Wilfred E. Cole; Cumberland Center, 
Mrs. L. T. Cushing; Damariscotta-Newcastle, 
J. P. Ridley, H. E. Hall; Deering, Julius E. 
Ward; Freeport, William H. Stockbridge, W. E. 
Cole, Mrs. George Anderson; Gray, Mrs. L. T. 
Cushing; Kennebunk, L. B. Cain, Mark S. 
Dickey, Madame H. P. Renouf, Mrs. Frances 
N. Goodenow; Kennebunkport, Charles C.Chase; 
Lewiston-Auburn, O. D. Stinchfield, N. L. Mow- 
er, Edwin L. Goss, Seldon T. Crafts; Livermore 
Falls, N. L. Mower, Roswell C. Boothby, Dr. 
relate Rand, Ernest Fogg: Mechanic Falls, O. D. 
Stinchfield, Woo: Stockbridge; Norway, Rev. 
Marcus H. Carroll, Mrs. H. L. Horne, Karl 
Lester Tower; Portland, Hermann Kotzschmar, 
Llewellyn B. Cain, N. L. Mower, J. Francis 
MacNichol, Ernest L. Crawford, Seldon T. 
Crafts, Ernest J. Hill; Rockland, James Wight, 
Edgar A. Burpee, Mrs. Edward F. Berry; Rum- 
ford, Mrs. Emma Talbot Mitchell, F. J. Rigby, 
Charles A. Mixer; Sanford-Springvale, Mark S. 
Dickey; South Berwick, Lena L. Dube, Seldon 
T. Crafts, Madame H. P. Renouf; South Paris, 
Mrs. Cora S. Briggs, Mrs. H. L. Horne, Karl 
Lester Tower; Turner, O. E. Wardwell, O. A. 
Sprague; Westbrook, Dr. Latham True, Mrs. 
George J. Akers, Howard Clark; Wilton, J. J. 
Armstrong; Yarmouth, Prof. Enos A. Blanchard, 
Homer Humphrey, Dr. H. M. Nickerson, Dr. 
G. L. Sturdivant. 


Among those who served as accom- 
panists for the local choruses of the 
Maine Music Festival were: 

(Eastern Section) Augusta, Bertha McClench, 


226 MUSIC AND MUSICIANS OF MAINE 


re 


Mrs. George E. Brickett, Lena Beane, J. Francis 
MacNichol, Alice M. Richards, Helen C. Brown, 
Mrs. John Robinson; Bangor, Mrs. Elizabeth 
Tuck, Mae Silsby, C. Winfield Richmond, Mrs. 
Carl Newman, Mrs. Neil E. Newman, Mrs. 
Dorothy Hicks; Bar Harbor, Ina M. Guptill, 
Effie Pendleton, Lora V. Parsons, Lindley H. 
Varney; Belfast, Mary E. Faunce, June K. Hills, 
Carrie M. Kingsbury, Louise Dennett, Mrs. 
Elon Gilchrest, Mrs. Leon Beckwith, Amy Stod- 
dard; Blaine, Flora Valley; Boothbay, Gertrude 
Dodge; Bucksport, Mrs. Albert F. Page, Mrs. 
H. R. Googins; Calais, Florence Mitchell; Cari- 
bou, Mrs. Emma Talbot Mitchell; Cherryfeld, 
Mrs. U. G. Gardner, Mrs. C. A. Ricker; Dexter, 
Helen Abbott, Mrs. Norma Elliot, Mrs. Fannie 
Bridgham; Dover-Foxcroft, Edith Waterman, 
Alice Ham, Myles Atherton, Charlene Smith; 
Ellsworth, Mrs. H. Greely, Lora V. Parsons, 
Mrs. Sara Hall, Mary F. Hopkins, May Bonsey, 
Eva Giles, Hazel Giles, Marjorie Jellison, Louise 
Donnell, Charlotte Whitcomb; Farmington, Mrs. 
Mittie T. Wade; Fort Fairfield, Thomas Rogers, 
Mrs. C. A. Pearce, Beatrice Whitehouse, Mrs. 
W. A. Richmond, Mrs. E. K. Guild; Gardiner, 
Mrs. Ben Partridge; Guilford, Marjorie Cim- 
pher, Mrs. R. W. Davis, Mrs. D. H. Edes, Mrs. 
N. N. Scales; Harrington, Mildred B. Coffin; 
Houlton, Betha Nason, Alice Ingersoll, Lena 
Lord, Susie Campbell; Jonesport, Mrs. Char- 
lotte Norton; Machias, Mrs. Alfred K. Ames, 
Lucy S. Ames, Emily Sanborn, Mrs. Stanley F. 
Rose, Mrs. Chester Hale, Mrs. Fred H.: Peavy, 
Nellie H. Ames; East Machias, Emily Sanborn, 
Marion Talbot, Mrs. Stanley Rose; Muillinocket, 
Emma Gonya; Milo, Elizabeth Thompson, Mil- 
dred L. Chapman; Monson, Mrs. R. M. Hes- 
cock; Oakland, Mrs. G. D. Pullen; Old Town, 
Annie A. Douglass, Maud L. Gould, Mrs. A. W. 
Rowe, Mae Silsby, Mrs. Louise Averill, Ruth 
Waterhouse; Orono, Annie Douglass; Pittsfield, 
Grace A. Rogers, Mrs. W. C. Marden, Nellie 
Leighton, Barbara Lancey, Ethel Lee; Presque 
Isle, Laura Bolton, Mrs. Lula P. Upham; Rich- 
mond, Jennie I. Hall: Skowhegan, Mrs. J. R. 
Frost, Marjory Morrison, Clara J. Vosmus, 
Berle L. Walton, Ethel Ames, Ella Flanders, 
Mrs. Mildred Weston, Mrs. Rose A. Borden, 
Mrs. Lilla French; St. Croix, Florence Mitchell, 
Mary Newton, Mrs. Franklin Eaton, Elizabeth 
Maher; W. aterville-Fair field, Nellie Webber, 
Mrs. F. W. Johnson, Mrs. Minnie D. Smith, 
Mary T. Newton, Miss M. J. Davidson, Mollie 
Hanson, Christine Daggett, Mrs. H. A. Smith, 
Inez F. "Armstrong. 

(Western Section) Bath, Josie Owen, Mrs. John 
Shaw, Mary B. Ward, Harriet R. Shaw, Mar- 


garet J. Melcher, Max P. Cushing, Mrs. J. F. 
Chaney, Helen M. Winslow, Mrs. C. A. Warren; 
Bethel, Ethel Eames, Mabel Rand, Mrs. G. L. 
Sturdivant, Alice Billings, Ruth King, Elsie 
Hall, Mildred Hapgood; Biddeford-Saco, Virgie 
Hill, Mrs. R. H. Merrow, Mollie F. Moore, 
Helene Bassford, Heloise P. Renouf, Mrs. Mar- 
garet Small; Boothbay Harbor, Grace Noyes; 
Bridgton, Edith Bennett, Walter N. Brown, 
Mrs. W. A. Richmond; Brunswick, Joseph C. 
Breitling, Mamie Ward, L. B. Cain, Mary B. 
Ward, Mrs. J. F. Chaney, Mrs. Carrie A. Camp- 
bell, Mrs. C. A. Warren, Mrs. W. A. Richmond; 
Cornish, Mrs. Harry P. Jameson; Cumberland 
Center, Helen E. Chase; Damariscotta, Mrs. 
W. H. Parsons, Mrs. J. S. Chandler; Deering, 
Julius E. Ward; Farmington, Mrs. M. T. Wade, 
Bessie E. Holmes, Mrs. A. L. Fogg; Freeport, 
Bessie M. Jordan, E. Belle Jordan, Anna Stock- 
bridge, Mrs. Arthur Warren, Mrs. C. A. Warren; 
Gray, Mrs. George E. Merrill, Mrs. L. T. Cush- 
ing; Kennebunk, Beth Merrill, Karl Lester 
Tower, Mrs. Heloise P. Renouf, Mark S. Dick- 
ey, Harry Fifield, Miriam Burke, Beatrice Da- 
venport, Gertrude Lord, Mary Bennett; Kenne- 
bunkport, Marion Hurley; Lewiston-Auburn, 
Helen M. Winslow, Helen Watson, Mary E. 
Pottle, Helen Cummings, Mrs. Seldon T. Crafts, 
Hazel Penley; Livermore Falls, Mrs. Isabelle K. 
Clary; Mechanic Falls, May A. Hawkes; Nor- 
way, Mrs. H. L. Horne, Karl Lester Tower, 
Mrs. Florence Fogg; Portland, Minnie A. Plum- 
mer, Dr. Latham True, Mrs. Gertrude S. Davis, 
Gertrude L. Buxton, Susan G. Coffin; Rockland, 
Mrs. James Wight, Mrs. Carrie Burpee Shaw, 
Faith W. Greenhalgh, Marjorie Stahl, Mrs. Ed- 
ward F. Berry, Mrs. Albert E. Averill; Rumford 
Falls, Arthur Cushman, Marguerite McKenzie; 
South Berwick, Lena L Dube, Mrs. Margaret 
Small; South Paris, Mrs. Cora S. Briggs; Turner, 
Mary E. Andrews; Westbrook, Annie C.Holmes, 
Mrs. George J. Akers: W ilton, Mrs. W. S. Bass, 
Doris Fletcher; Yarmouth, Mrs. Ellen E. Wilson. 


Besides furnishing the people of the . 
State with some of the greatest thrills 
to be obtained through music, the 
Maine Music Festivals have been, 
throughout this long period, of incal- 
culable educational value to music 
students. 

Their glorious past will be treasured 
in the memories of men and women of 
Maine until the last one of this gen- 
eration shall have passed away. 


= 3 = 


eS eT 


ii jae eC 


oe ee, ee eT en ee! se ee ao eee 


MUSIC OF THE STATE OF MAINE— 1897-1928 227 


These are some of the Maine soloists 
who have appeared in the concerts of 
the Maine Music Festivals: 


Sally F. Akers, Phoebe Crosby, Emma Eames, 
Emilio de Gogorza, Franklin Holding, May 
Korb, Charles Marshall, Katherine Ricker, 
Everett Waterhouse, Herbert L. Waterous, 
Helen Yorke, Margaret Abbott, Grace Haskell 
Barnum, Lou Duncan Barney, Arthur Beaupre, 
Millard Bowdoin, Edith Bradford, Jennie King 
Bragdon, Llewellyn B. Cain, Lillian Carllsmith, 
Gladys Russell Cook, Bret H. Dingley, H. B. 


’ Drake, Frances M. Drinkwater, H. L. Eustis, 


Aline Glass, Herbert R. Gardiner, Thomas Hen- 
derson, Martha Hawes Hill, Ernest J. Hill, 
Marion Hitchings, Grace Farrington Homsted, 
Ethel Hyde, Frederic A. Kennedy, Marion 
Harper Kuschke, H. W. Libbey, J. Francis 
MacNichol, Effie Pooler Malley, Henri Mar- 
coux, Kitty McLaughlin, Harry Merrill, Marcia 
Merrill, Mabelle Monaghan, Mary Allen Nelson, 
Julia Edwards Noyes, Roger Nye, Florence 
Knight Palmer, Henrietta D. Rice, Margaret 
Ross, Antonia S. Sawyer, Ethelynde Smith, 
Howard R. Stevens, A. B. Taylor, Dr. T. E. 
Tibbetts, Dr. Oscar E. Wasgatt, Annie W. Wit- 
tridge, and Lillian Nordica. 

While the Maine Music Festival, as 
a state-wide organization, ceased to 
function in 1926, the choruses of the 
Eastern part of the State were reor- 
ganized in the early part of 1927 by 
Adelbert Wells Sprague, their former 
conductor, and the Eastern Maine Mu- 
sical Association, with Clarence C. 
Stetson as its President, gave its thirty- 
first Eastern Maine Music Festival in 
1927 and arranged for the bringing to 
Bangor of the Cleveland Symphony 
Orchestra, Nikolai Sokoloff, conduc- 
tor, for the 1928 festival —a milestone 
in its history as a major symphony 
orchestra had not been heard in East- 
ern Maine prior to 1928. Of interest 
was the announcement made, that Ru- 
dolph Ringwall, the assistant conduc- 
tor of the orchestra, was a native of 
Maine. 

New singers from the best young 
vocalists, including the total member- 
ship of men’s and women’s glee clubs 
and other picked voices from the stu- 


dent body of the University of Maine 
and the Bangor High School, were 
added to the chorus. 

An Auxiliary Chorus of young peo- 
ple from the neighboring towns of 
Bangor, trained by Mrs. Dorothy 
Browne Dean, Supervisor of Music in 
the Bangor schools, sang at the mati- 
nee concerts, and, with the addition of 
many of the leading church choir sing- 
ers and soloists, who had not before 
affiliated with the Festival forces, con- 
tributed to make the 1928 chorus an 
especially noteworthy one. 

The officers of the Eastern Maine 
Festival Chorus for 1927-28 were: 

President, Frank R. Atwood; Vice President, 
Harold W. Coffin; Secretary, Josephine M. Wig- 
gin; Treasurer, Mrs. Robert T. Clark; Conduc- 
tor, Adelbert Wells Sprague; Accompanist, Wil- 
bur S. Cochrane. 

The new officers of the Eastern 
Maine Music Association, the admin- 
istrative organization which was incor- 
porated in 1927 to manage and carry 
on the Eastern Maine Music Festival, 
were: 

President, Clarence C. Stetson; Secretary, Wil- 
frid A. Hennessy; Treasurer, Sarah P. Emery; 
Conductor, Adelbert Wells Sprague. 

The following constituted the Ex- 
ecutive Committee: 

Frank R. Atwood, Wilfred A. Finnegan, Harry 
W. Libbey, William McC. Sawyer, Adelbert W. 
Sprague, Louis C. Stearns and Clarence C. Stet- 
son. 
and the Directors were: 


Frank S. Ames, Frank R. Atwood, Albert E. 
Bass, Harold S. Boardman, Franklin E. Bragg, 
Lyman Blair, E. L. Cleveland, Harry L. Crab- 
tree, Mrs. Sarah P. Emery, Henry B. Eaton, 
Wilfred A. Finnegan, A. Langdon Freese, Fred 
A. Gilbert, Edwin M. Hamlin, Wilfrid A. Hen- 
nessy, Harold Hinckley, Harry W. Libbey, Wal- 
ter J. Rideout, D. W. Rollins, William McC. 
Sawyer, Adelbert W. Sprague, Louis C. Stearns, 
Clarence C. Stetson and Hon. W. H. Water- 
house. 


In recognition of the service of their 
former leader, Dr. William Rogers 


228 MUSIC AND MUSICIANS OF MAINE 


BIRTHPLACE OF LILLIAN NORDICA, FARMINGTON, MAINE. 


Chapman, he was elected honorary 
conductor of the society. 


Lillian Nordica 


Rich is the music of sweet instruments,— 
The separate harp, cornet, oboe and flute, 
The deep-souled viola, the ’cello grave, 
The many-mooded singing violin, 
The infinite, triumphing, ivoried clavier; 
And when, with art mysterious, some god 
Thrills into one the lone and various tones, 
Then is no hiding passion of the heart, 
No sigh of evening winds, no breath of dawn, 
No hope or hate of man that is not told. 
But when a human voice leaps from that surge 
’Tis as a flower that bursts from th’ trembling 
earth; 
Something more wonderful assails the soul; 
As, with exultant cries, up-curving, swift, 
The shrill Walkure clamor against the sky, 
Or pale Brunhilde moans her bitter fate. 
— Richard Watson Gilder. 


It has been said that if one would 
become great in musical art, cosmo- 
politan surroundings are as necessary 
as is the training he receives; and it is 
generally believed, though the rule 
does not always seem to apply, that 
one’s ancestry also has much to do 
with one’s ability to achieve greatness. 
One might go further and say that if 
one would attain that degree of phy- 
sique and endurance necessary to con- 


tinued success, he should be born 
among the hills of Maine, and in his 
youth drink in the ozone that is ex- 
haled from the pine trees of its inland 
villages or the salt laden air of its sea- 
coast towns. 

Lillian Nordica early acquired a 
physique which gave her a degree of 
endurance that is frequently denied 
the city-bred girl. Sprung from an an- 
cestry of Revolutionary soldiers on one 
side and a line of ministers on the 
other, she had, besides, the distinct ad- 
vantage of being born into a musical 
family, the head of which was a man 
of more than ordinary artistic ability. 

Edwin Norton, the father of Lillian 
Norton, was a son of James I. Nor- 
ton, who was born in Tisbury, Mass., 
March 8, 1783. ‘The wife of James 
Norton was a daughter of Timothy 
Smith, while he was a son of Ephraim 
Norton from Massachusetts who had 
come to this country with his wife De- 
borah Instance in 1788. 

Ephraim Norton was in turn a son 
of Major Peter Norton, a Revolution- 
ary soldier, who was born in Edgar- 
town on the island of Martha’s Vine- 
yard, Mass., September 9, 1718, and 


MUSIC OF THE STATE OF MAINE~— 1897-1928 229 


who was a son of Ebenezer Norton 
whose father was Nicholas Norton, of 
whom the record says that he was 
born at Weymouth and lived in Dukes 
County, Mass., as early as 1669. 

But Lillian Norton did not inherit 
all her talents or stability of character 
from her fighting forefathers. Love 
Coffin, born in Nantucket in 1756, be- 
queathed an inheritance of a brilliant 
mind and industrious habits to her 
children and grandchildren and through 
the Rev. John Allen to his gifted grand- 
daughter. When she was twenty-three 
years of age Love Coffin married Wil- 
liam Allen of Martha’s Vineyard, and 
they were declared to be the finest 
looking couple on the island. During 
the Revolutionary War Love Coffin 
Allen was a tailoress to the soldiers. 
When they came to Maine with their 
five children they unfortunately select- 
ed one of the most unproductive farms 
in Farmington and as a result had a 
tremendous struggle for existence. ‘They 
reared a family of ten children, each 
of whom, through the self-denial of 
their parents, received an excellent edu- 
cation. Though too poor to purchase 
books, the mother gave instruction to 
her children by reciting poems from 
Milton’s Paradise Lost and selections 
from the classics of English literature 
and by relating to them the principal 
events of ancient and modern history. 
Nearly every one of these children be- 
came teachers. The eldest son was ap- 
pointed assistant teacher in the Hallo- 
well Academy, after only eight weeks 
in that institution, a remarkable cir- 
cumstance, as he had received no other 
schooling after reaching the age of 
twelve until entering that hall of learn- 
ing. 

Camp Meeting John Allen, father 
of Lillian Nordica’s mother, was per- 
haps as well known in New England 
as any of his contemporaries. He was 


a Methodist, converted at a camp 
ground, and during his life attended 
three hundred and sixty-eight camp 
meetings. He is remembered as a 
kindly old gentleman who may be said 
to have had a strong liking for boys. 
He died as he had always hoped he 
would, at a camp ground. The one at 
Strong, Maine, bears his name. As an 
illustration of his sense of humor it is 
told of him that at one time, when he 
acted as chaplain for the Maine Legis- 
lature, he dismissed that august body 
with the benediction, “return ye ran- 
somed sinners home.” 

Lillian Norton’s mother must have 
been the village belle in the days when 
Farmington was young for she was 
noted for her fine blue eyes, her sweet 
smile and her lovely hair “which curled 
around her face as soft as a little 
childs.” Her father, a slender man 
with courtly manner, large brown eyes 
and curly brown hair, was more than 
ordinarily musical. A friend of the 
Norton children in those early days, 
writing of Mr. Norton’s playing on the 
violin, says, “If he played joyful mu- 
sic, we children laughed and danced, 
if it was sad, we cried, so you see he 
was an artist.” 

The story of the early efforts of Ed- 
win Norton to play on his cherished 
instrument is almost pathetic. For- 
bidden by his father to bring the vio- 
lin into the house, because he “thought 
it was an instrument of the devil,” he 
had no opportunity, except surrepti- 
tiously, to enjoy it. His mother, who 
did not share the father’s supersti- 
tions, allowed him to hide the instru- 
ment in her lower bureau drawer, and, 
when the stern parent was away, he 
would take it from its hiding place and 
lovingly draw the bow across its re- 
sponsive strings. 

Mr. Norton sang with his wife in the 
village choir at Farmington and his 


230 MUSIC AND MUSICIANS OF MAINE 


rich deep bass blended with her sweet 
soprano in “the only place where it 
was then considered not sinful to sing.” 

The Norton homestead, in which 
Lillian was born and which had been 
built by Edwin Norton about 1840, 
was located in a hamlet about two and 
one-half miles from what was then 
Farmington Village. It was a typical 
New England farm house with ell and 
barn. A stone wall ran along the 
front, bounding the line of land along 
the road, and ample shade trees pro- 
tected its occupants from the heat of 
the summer sun. From the front porch 
was a view extending from twenty to 
forty miles to the mountains in Frank- 
lin and Oxford Counties. 

Lillian Nordica, the daughter of Ed- 
win and Amanda Elizabeth (Allen) 
Norton, was born in the old Norton 
homestead on December 12, 1857. 

As far back as her parents could re- 
member Lillian seemed to be full of 
music. She loved the sound of run- 
ning brooks and singing birds and 
would go into the woods and listen to 
them for hours at a time. One day, 
almost as soon as she had learned to 
walk, she was missed from her home 
and her mother instituted a search for 
her. She had taken a tumbler and 
gone to the brook for a drink, and 
there they found her in her bright red 
frock, sitting on a stone, the tumbler 
in one hand, and, in the other, a small 
stick with which she kept striking the 
glass, bringing forth its rhythmic mu- 
sical tones to the accompaniment of 
the gurgling waters which played 
around her bare feet, and she was 
laughing delightedly for she thought 
she had discovered or invented the 
musical sounds which she was pro- 
ducing. 

Mrs. E. Sprague Swift, an old resi- 
dent of Farmington, drew a delightful 
picture of the home life of the Nor- 


tons when she wrote “Nordica’s father 
wished his children to have better ad- 
vantages than the town schools afford- 
ed, so he engaged a teacher and had a 
private school in his own house. My. 
sister and I were invited to attend the 
school. In the morning, before school 
commenced, we gathered around the 
piano. Mrs. Norton played,—Nordica’s 
father and uncle playing the violins 
and all of us singing. The school room 
was the one where, years later, the 
baby Lillian first opened her dark eyes. 
The baby then was Wilhelmina Kos- 
suth, who used to touch the keys of 
the piano with her soft fingers and 
then look up into her mother’s eyes 
and smile. As she stood among us at 
the morning concert she could just 
touch the keyboard opposite her eyes. 
Lillian Nordica was then a tiny tot in 
white muslin and curls, who kept fast 
hold of her sister Imogene’s hand, or 
the corner of her apron. The teacher, 
Miss Hunter, sat on the piazza singing 
to us till the lengthening shadows 
warned us that it was time to go home. 
All the evening Baby Lillian stood 
leaning against her shoulder, listening 
enwrapped tothe teacher’s sweet voice. 
None of us then dreamed that there 
was One among us, a baby, who would 
one day sing before the Kings and 
Queens of the earth; but I doubt not 
Lillian’s mother kept all these things 
and treasured them in her heart. 

“We who remember those days, with 
their constant musical drill and study 
do not wonder that to-day one of 
America’s greatest singers is one who 
stood among her sisters at Edwin Nor- 
ton’s private school. We all believed 
in those days that another member of 
the family would be the great singer. 
We, who had stood at the old piano 
and heard the clear bird like voice of 
Wilhelmina rise at the morning con- 


MUSIC OF THE STATE OF MAINE 1897-1928 231 


certs thought that she would be the 
famous one.” 

But it was Mrs. Norton who, with 
a mother’s instinct, had discovered Lil- 
-lian’s first faint cry to be more musical 
than that of the other children. 

Before Lillian Norton had reached 
her eighth year her parents moved to 
Boston (1864) in order that her sis- 
ter Wilhelmina, who had developed a 
remarkable voice, might be allowed 
the opportunity to receive the best in- 
struction New England afforded. Fate, 
however, willed otherwise. Wilhelmina 
died before she became eighteen, and 
the hopes of the parents were then 
centered on Lillian, who at a very 
early age had shown a really great 
talent for music. The family, at this 
time, was in straitened circumstances 
and Mrs. Norton worked for a while 
in a department store that Lillian 
might receive the best musical instruc- 
tion to be had in Boston. 

Lillian Norton entered the New Eng- 
land Conservatory of Music at the age 
of fifteen in order to study with John 
O’Neil, a scholarly man and a student 
of physiology of the voice. 

Professor O’Neil was considered an 
excellent teacher but he insisted that 
his pupil forego the singing of songs 
of any character, and devote three 
years exclusively to exercises in tech- 
nic emission. When she offered to 
sing for him one of the songs she had 
learned herself he laughed at her. Not- 
withstanding the edict of her teacher 
she began singing solos in church, and, 
when Eben Tourgee organized his fa- 
mous choir, she became the soprano. 
Her voice was one of great purity and 
her high C attracted wide attention. 
On several occasions she was given the 
“Inflammatus” from Rossini’s “Stabat 
Mater” and so popular did she become 
in the performance of this number that 


LILLIAN NORDICA FROM AN EARLY PORTRAIT. 


for more than thirty years, whenever 
it was announced that she was to sing 
the Stabat number, the house would 
be filled to overflowing. 

Professor Frederick R. Sweetser 
wrote of Nordica as he remembered 
her at this time, “Lillian Norton, after- 
wards the celebrated Nordica, at the 
time I was studying in Boston, was 
then a breezy young girl with a lovely 
light voice and was a great favorite 
with all the students. Little did we 
think at that time that she was to be- 
come the greatest of Wagnerian sing- 
ers. 

At eighteen Lillian Norton graduat- 
ed from the Conservatory with the 
highest honors, making her first ap- 
pearance at a pupils’ recital in 1876, 
and she soon after made her concert 
debut in Boston by appearing as one 


232 MUSIC AND MUSICIANS OF MAINE 


of the soloists with the Handel and 
Haydn Society in “The Messiah” in 
the same year. The salary paid her 
for her first church position at the 
Grace Church, Boston, when she was 
but eighteen, was one thousand dol- 
lars, though it is said her first money 
for her musical education was ob- 
tained by singing in Boston Music 
Halls. 

It is related of her that in her con- 
servatory days she was so slender that 
she was enabled to squeeze through 
the bars in the grating which separat- 
ed the Music Hall from the Conserva- 
tory, both of which were in the same 
building, and could thus enjoy the re- 
hearsals and performances that were 
going on in the Music Hall, a privilege 
of which she often availed herself. 

About this time Lillian Norton was 
granted an opportunity to sing for a 
relative of the famous Hungarian pri- 
ma donna Tietjens who had recently 
come to America. Thinking to save 
the young singer embarrassment Tiet- 
jens had left word that she, herself, 
would be too busy to hear her, but 
would arrange to have someone else 
hear her voice, but, while Lillian was 
singing, she stole in, and when the 
piece was finished she asked her to 
sing an air from “Il Trovatore.” Tiet- 
jens was delighted with her work, and 
said to her, “You have a great voice; 
there is a wonderful future for you if 
you want to study and work,” and 
thereupon presented her with tickets 
for the opera in which she was appear- 
ing. Miss Norton was advised by Tiet- 
jens to go to New York and study with 
Mme. Maretzek, who was solo harpist 
in the orchestra, and to whom she was 
given a letter of introduction. Acting 
on Tietjen’s advice she studied with 
Maretzek one summer. Through this 
teacher she was introduced to Patrick 
Gilmore who, on hearing her sing “Ah 


non giunge” from “La Sonnambula,” 
and “See the Bright Seraphim,” with 
the obligato played by Arbuckle, his 
solo cornettist, promptly decided to 
give this “very pale little girl” a chance.. 
On the opening night as he handed 
her to the platform he said, “Now lit- 
tle girl, don’t be afraid. Just sing right 
out.” She performed her part so well 
that she was promptly engaged as solo- 
ist for a western tour with his band at 
a salary of one hundred dollars a week 
and expenses for her mother and her- 
self, | 

So delighted was Gilmore with his 
young soloist that he re-engaged her 
for a European tour in 1878. Her old 
teacher John O’Neil, however, was 
greatly perturbed. He had had higher 
ambitions for her than “Singing with 
a brass band,” and writing her he in- 
quired “if this was what she had come 
to.” Taking her first to England where 
she appeared in seventy-eight con- 
certs, singing twice a day, Gilmore 
presented her in concerts at Paris, 
where the Exposition was in progress, 
and where she had the honor of being 
the first American singer to be heard 
in the new Trocadero. At Paris she 
had’ the great advantage of studying 
some of her roles with Ambroise ‘Thom- 
as and with Gounod. Here she secured 
some American pupils, and while in 
Paris made a decision that determined 
her future career. With her heart set 
on opera, while yet in her teens, she 
journeyed to Milan where she studied 
for six months with San Giovanni, who. 
gave her the name of “Giglia Nordi- 
ca,” her own name Italianized but 
liberally interpreted as “The Northern 
Lily”; and, while with him, in that 
brief period, she committed the scores 
of ten operas. Lillian Norton adopted 
the name of Nordica, not for the sake 
of taking a euphonious cognomen or 
because of the custom of adopting 


ce 


— 


ERLE IO BIL GP IND SES 


i al tial es a 


aA UR Ray ger eg alen DEUR H M of 


a A ies sal ee eae nee 


MUSIC OF THE STATE OF MAINE 1897-1928 233 


Italian names for stage purposes, but 
on account of the fact that she had 
received letters from relatives at home 
intimating that “she would disgrace 
the family name by bringing it into 
the theater.” This prejudice, fortu- 
nately, was not shared by her parents. 
That such letters had been received by 
her is not to be wondered at when one 
remembers her Methodist and Puri- 
tanical ancestry only two generations 
removed. 

At the conclusion of her term of 
study with San Giovanni she made her 
debut as an opera singer at Brescia as 
Violetta in the opera “La Traviata” 
(1880). In Brescia she sang four 
times a week for three months, for 
which she received the munificent total 
sum of one hundred dollars and was 
given a benefit performance that net- 
ted her sixty dollars more. From Bres- 
cia she went to Novara where she sang 
the role of Alice in “Robert le Diable.” 
In Novara the little theater was not 
heated. The dressing room walls, which 
were of stone, were cold and damp, 
and she was obliged to carry a little 
brazier of coals from her lodgings to 
the theater. Antonne Kobbé, in his 
“Opera Singers,” writes of an unhappy 
experience Nordica endured in Genoa 
where she again appeared as Alice. 

“After Novara, she sang Alice in 
Genoa. The first night, after a certain 
phrase, there were strong hisses. For 
an instant they paralyzed her. Every- 
thing swam around. She had the same 
experience for several nights, and al- 


ways after the same phrase. She con- 


cluded there was something wrong with 
her pronunciation. Finally one night, 
after diligent study on her part, the 
critical moment passed without a hiss 
and her singing of the aria was fol- 
lowed by a storm of applause.” 

In October, 1880, she sang the part 
of Marguerite in fifteen performances 


of “Faust.” Then she went to Aquil- 
la where she gave thirty-five perform- 
ances of “Faust,” “Rigoletto” and “Lu- 
cia.” She also sang at Genoa, Danzig, 
Koningsberg and Berlin. Then at St. 
Petersburg, which was the scene of her 
first marked triumph, she sang the 
part of Filina in “Mignon.” 

It was in this year that she met a 
Russian impressario who had come to 
Italy to look for voices of excellent 
quality. He desired a young singer 
who could fill such roles as Inez in 
“L’Africaine” and Queen Marguerite 
in “Les Huguenots.” Hearing Nordica 
sing, he offered her an engagement for 
St. Petersburg and Moscow. Kobbé 
says, “There were ten or twelve roles 
to be learned and she had about six 
weeks in which to master them. But 
by dint of arduous study, at a time 
when the heat in Milan was intense, 
she prepared herself for the engage- 
ment, which was continued for another 
season, and led to her appearance at 
the Grand Opera, Paris, where she 
made her debut as Marguerite in 
‘Faust, having studied the role with 
Gounod himself.” 

Other appearances in St. Peters- 
burg were as Cherubino in “Le Noz- 
zi de Figaro”; Berta, in “Le Prophete” 
and Zerlina in “Don Giovanni.” 

She secured a return engagement for 
another season at St. Petersburg but 
owing to the assassination of the Czar 
of Russia the season’s work of the 
company was not completed. 

From St. Petersburg she went to 
Paris, in 1882, where she closed an 
engagement at the Grand Opera which 
lasted for eighteen months. Here she 
sang her Marguerite in French, de- 
lighting the critics of the French capi- 
tal not only with her beautiful voice 
and admirable acting but by her adap- 
tation of their language to the opera. 
She also appeared in the leading role 


234 


MUSIC AND MUSICIANS OF MAINE — 


in “Hamlet” and her interpretations 
of her part in these two operas (“Ham- 
let” and “Faust”) were, in a consider- 
able measure, reflected by the advan- 
tage she had received from brief peri- 
ods of study with their composers, 
Thomas and Gounod. 

After her engagement at Paris she 
toured with Mapleson, and in Novem- 
ber, 1883, appeared at the Academy 
of Music in New York where she won 
much praise for her lovely voice, though 
she did not, at that time, make a very 
great impression on her New York 
audiences. She sang only four or five 
nights and then returned to London. 

In 1883 she married Frederick A. 
Gower, also a native of Maine, having 
been born in the town of Sedgewick, 
a scientist by profession. She then re- 
tired from the stage. The marriage took 
place in London. Her matrimonial ex- 
periment proved disastrous, however, 
and in 1885 she was suing for divorce. 
While the suit was pending, in at- 
tempting to cross the English Channel, 
her husband met with a balloon acci- 
dent at Cherbourg, France, and al- 
though the balloon was recovered, his 
body was never found. 

After Mr. Gower’s death Nordica 
toured again with Mapleson and, in 
1887, she appeared at Berlin where she 
met with favor seldom shown an Amer- 
ican singer in this exclusive capital. 

On March twelfth of this year she 
made her debut at Covent Garden, 
London, where she appeared as Vio- 
letta. Though she sang under a great 
handicap, Mr. Alexis Chitty, the Lon- 
don critic, wrote of her on this occa- 
sion that she met with instant success, 
“on account of the purity of her style 
and the richness and roundness of her 
upper register.” Other critics, too, 
were loud in their praises. One wrote 
of “the silvry lyric quality which won 
her such renown,” and another of “her 


mellow, pure, expressive voice.” It is 
related that the house had been closed 
for so long and it was so miserably 
cold that the Prince of Wales, who oc- 
cupied one of the boxes, sat through- 
out the evening without removing his 
heavy topcoat. 

Because of severe competition in the 
operatic field Mapleson was forced to 
retire, and Nordica then applied to 
Augustus Harris who informed her 
that he had all the singers he wanted. 
His conductor, the eminent Mancilli, 
however, urged him to hold her in re- 
serve, to which he agreed, stating that 
he would pay her two hundred dollars 
for each appearance if she were need- 
ed. As the women in the Harris Com- 
pany were not as satisfactory as the 
men, Nordica was sent for on the sec- 
ond night, and, without a rehearsal, 
sang Aida at this performance; and 
followed this up by committing the 
difficult part of Valentine in “Les Hu- 
guenots” in a week. Nordica continued 
with Augustus Harris for the next six 
seasons as a regular member of his 
company, and, during this period, she 
sang at concerts at the Crystal Palace, 
in oratorio at the Novello concerts in 
Albert Hall and St. James Hall, at 
the Handel and provincial festivals at 
the Philharmonic, and at numerous 
other concerts. At a state concert at 
the Buckingham Palace she received 
the personal thanks of the Prince and 
Princess of Wales and was command- 
ed to.appear before the Queen, Vic- 
toria, at Westminster Abby. At this 
concert she sang, “Let the Bright Ser- 
aphim.” 

An anecdote is related of Nordica 
that, while in London, Mme. Albani, 
having been taken ill and being unable 
to sing her partin Sir Arthur Sullivan’s 
“Golden Legend,” this eminent com- 
poser was greatly annoyed to learn 
that Nordica had been substituted, but 


bie aR telly eragpimmagec in il eg eile Soar 


MUSIC OF THE STATE OF MAINE 1897-1928 235 


after hearing her sing he called the 
next day to thank the young American 
vocalist for having sung his music “so 
beautifully.” 

In 1893 she created the part of Ze- 
zica in “The Veiled Prophet.” After 
six seasons of continued success with 
Harris —five of them at the English 
capital—she went to Bayreuth and 
studied the part of Venus, in ‘““Tann- 
hauser,” with Mme. Cosima Wagner. 
The intense application with which 
she undertook the study of this part 
delighted Madame Wagner who paid 
her the great compliment of engaging 
her to sing the part of Elsa, in “Lo- 
hengrin,”’ at the next Bayreuth Festi- 
val. This was an unprecedented hon- 
or for an American singer. ‘Three 
months were given over to prepara- 
tion, and with such thoroughness was 
the work undertaken that the pronun- 
ciation of a single word would some- 
times be gone over as many as three 
thousand times, and, when the studies 
of the day were finished, Madame 
Nordica would go straight to bed from 
sheer exhaustion. It is needless to 
say that by her wonderful voice, her 
unblemished: art, and the enchanting 
beauty of her face and figure, she 
achieved the ideal Elsa. It is said that 
her singing and acting created so much 
enthusiasm as to elicit a public dem- 
onstration in Bayreuth—the first of 
its kind accorded any singer in this 
undemonstrative town. 

dmmediately after this she came to 
America and, under the management 
of Mr. Abbey, appeared with Calvé, 
Melba, Eames, Plancon and the de 
Reszkes. At the Metropolitan Opera 
House in New York shé sang the parts 
of Elsa, Venus, and Isolde in German. 
The de Reszkes, Lehmann, Nordica 
and the others came under the direc- 
tion of Anton Seidl, who had been 
Wagner’s assistant for five years, and 


LILLIAN NORDICA IN COSTUME WORN AT A FANCY 
DRESS BALL. PHOTO BY AIME DUPONT. 


who was one of the most thorough and 
painstaking of Wagnerian conductors. 

Nordica’s great triumph as “Isolde” 
in November, 1895, may be said to 
have been the apex of her career but 
she was able to maintain herself be- 
fore the public on that high level for 
many years thereafter. 

At this time Wagner enthusiasm was 
at its height in New York, this period 
being “the golden age of German Op- 
era’; and every effort was being made 
by the director and the singers to in- 
terpret the performances in a manner 
as nearly approaching the Wagner 
ideal as possible. It was declared that 
Nordica and the de Reszkes at this 
time effected what was virtually a Ren- 
aissance of Wagner in America. 

Of this occasion Nordica once said 


236 MUSIC AND MUSICIANS OF MAINE 


(quoting from Kobbé), “We all felt 
that we were starting out on this new 
race side by side, with every nerve and 
every thought on the alert. But it was 
a great strain. Seidl came to me early 
one morning to go over my role with 
me, and he left me about two o’clock 
in the afternoon, having gone over the 
acting to the minutest detail. I had to 
rest for two days. Every noise, every 
sound brought up something from 
‘Tristan and Isolde.’ ” 

Nordica’s training under Seidl was 
the most valuable of any she had dur- 
ing her life. He had heard her sing in 
her younger days, before her voice had 
become powerful; and he had often 
said, “Wait, you will sing Wagner, one 
of these days.” 

“When I did,” Madame Nordica 
wrote, according to Kobbé, “and be- 
gan to study the role of Venus, it was 
Mr. Seidl who taught it to me. Again, 
it was Mr. Seidl who aided me in the 
first study of Elsa for Bayreuth, an 
aid of such authority, enthusiasm, and 
assurance that it laid a foundation of 
future purpose and determination.” 

Under Seidl’s guidance her acting 
became moredramatic. The late Henry 
T. Finck, noted author and musical 
critic, wrote of her at this time, “Never 
was there a more conscientious artist, 
Or One more eager to seize every hint 
given by the composer, in libretto, 
score, essay, or little subtle touches, 
mostly, but such as add very much to 
the picturesqueness of her impersona- 
tion. She has brought some effective 
details from Bayreuth, too, and does 
not keep them for herself, but makes 
them extend to her environment.” 

Of her impersonation of Isolde, H. E. 
Krehbiel said, “Let one fact be pon- 
dered: “Tristan and Isolde’ was sung 
in tune throughout. Never before have 
we had a Tristan able to sing the de- 
clamatory music of the first and last 


acts with correct intonation, to say 
nothing of the duet in the second act. 
Never since Madame Lehmann left us 
have we had an Isolde capable of the 
same feat. But Mme. Nordica and M. 
de Reszke, not only sang in tune; they 
gave the text with a distinctness of 
enunciation and a truthfulness of ex- 
pression that enabled those familiar 
with the German tongue to follow the 
play and appreciate its dramatic value 
and even its philosophical import. It 
was wonderful how Mme. Nordica 
rose to the opportunity which Wag- 
ner’s drama opened to her. The gréat- 
er the demand, the larger her capacity. 
In the climaxes of the first act, in 
which Isolde rages like a tempest her 
voice rang out with thrilling clearness, 
power and brilliancy and forced upon 
all a recognition of the lesson which 
Walther teaches Hans Sachs at the 
song meeting in St. Catherine’s Church 
—that ability comes with willingness 
and desire.” 

After hearing her Isolde in London, 
the well-known song writer, Sebas- 
tian Schlesinger, wrote, “How Nordica 
has mastered the German language, of 
which she knew nothing a little while 
ago, is wonderful; her enunciation is 
perfect, and as she ‘knows how to sing’ 
her fatigue of voice is very little — 
physical fatigue after long mental strain 
must of course follow. While we have 
many singers whose high registers call 
forth our warmest admiration, we have 
few, and with the exception of Lilli 
Lehmann I know none, whose mezza 
voce is as fine as Mme. Nordica’s. It 
has great carrying power, and she uses 
it a great deal more in this role than 
other singers do, so that her interpre- 
tation in this respect will be quite dif- 
ferent from other singers, like Rose 
Sucher, who, great as she is dramat- 
ically, has evidently not had that vocal 
instruction which makes the voice 


OR oar ED kere ee 


er oe, 
+s . 


MUSIC OF THE STATE OF MAINE 1897-1928 237 


biegsam or bel canto, and this is re- 
quired for the ideal Isolde.” 

When the first Wagner Festival was 
given at Munich at the Prinz-Regenten 
Theater, specially built for that occa- 
sion, Nordica was the soprano in Tris- 
tan. She received a very great compli- 
ment through the press of that city, 
which almost universally declared that, 
“for once the part of Isolde was actu- 
ally sung in Munich.” James Huneker, 
correspondent of the Musical Courier, 
who was present on this occasion, de- 
clared, “Nordica rather startled the 
natives by her artistic singing. Her 
Isolde is a familiar assumption to us, 
but for Munich it seemed a revelation. 
I have heard her give the Liebestod 
with more volume, though never with 
such sorrowful tenderness. The en- 
thusiasm was great over Nordica and 
Fremstad (Brangane). It was decid- 
edly a red-letter day for American 
singers.” 

Madame Nordica had such marvel- 
ous control over her voice that she 
could perform either dramatic or bel 
canto singing with equal ease, and it is 
said that “she retained her ability to 
sing lyric roles with or without colora- 
tura after she had become pre-eminent 
as Isolde and Brunnhilde,” a feat so 
unusual as to attract universal com- 
ment. 

Of her performance of Marguerite, 
Mr. Finck declared, “Marguerite does 
not require such a sonorous voice as 
Brunnhilde; accordingly Mme. Nordi- 
ca attuned her tone-volume tothe part, 
revealing the full strength of her organ 
only in the church scene and the final 
trio, This showed not only good judge- 
ment, but superlative control of her 
vocal technic. She sang the jewel song 
happily, the spinning song sentimen- 
tally, the church scene with an agony 
of remorse and despair seldom wit- 
nessed on the stage. And while, in 


singing Wagner, she always makes 
noble use of the bel canto, so here, 
conversely, she infused the charms of 
the dramatic style into Gounod’s broad 
melodies. The text was enunciated with 
surprising clearness and the phrasing 
most tasteful. In her action there were 
many new details, and her conception 
of the part was quite properly that of 
Goethe rather than that of Gounod’s 
French librettists. In a word, she in- 
fused a hackneyed part with fresh in- 
terest, and the audience recalled her, 
with Mr. Alvarez and Mr. E. de Reszke, 
numberless times after the acts.” 

And later, “Go and hear Mme. Nor- 
dica in Italian music, and then bear 
in mind that she has made a specialty 
of Wagner ever since the days of An- 
ton Seidl, and you will realize that 
Wagner, properly sung, strengthens 
and beautifies the voice. . . . To crit- 
ical ears it is inexpressibly soothing to 
listen to a voice like this —a voice al- 
ways produced without effort, always 
luscious, always true to the pitch, and 
at the same time imbued with the 
deepest feeling; a voice which shows 
that Wagner’s most difficult intervals 
(which great artists a few decades ago 
considered unsingable) can be made 
as smooth and flowing as Mozart’s 
cantilena; a voice which had a glorious 
mountain freshness in it when it sang 
the opening lines of Gotterdammerung, 
‘Zu neuen Thaten,’ and retained that 
freshness till she uttered the last words, 
‘Selig gilt dir mein Gruss,’ after four 
hours of the most exhausting song and 
action.” 

Lillian Nordica was liberally en- 
dowed with unusual graces of person 
and voice and artistic ability and in- 
telligence. She was a woman of rare 
charm and commanding pulchritude of 
face and form, and never was her 
beauty more admired than at the time 
which may properly be called the 


238 MUSIC AND MUSICIANS OF MAINE 


 —_———————————— 


LILLIAN NORDICA AS ISOLDE. THIS PORTRAIT SHOWS 
THE PRIMA DONNA WEARING THE FAMOUS DIA- 
MOND TIARA. PHOTO BY AIME DUPONT. 


crowning event of her life, when at the 
Metropolitan Opera House in New 
York she was presented with a mag- 
nificent diamond tiara. Mr. Finck who 
was present on this occasion wrote: 

“Tt was the greatest event, the most 
triumphal occasion in her career. Aft- 
er the first act, when the curtain had 
been raised repeatedly in response to 
tumultuous applause, a number of bas- 
kets of flowers were handed up to her, 
and in one of them was a casket con- 
taining a large jewel-case. This M. 
Jean de Reszke gave to the prima don- 
na, who opened it and displayed the 
much talked-of tiara with the 233 dia- 
monds, that was made for America’s 
greatest singer with the contributions 
of 128 of her admirers, including the 


names of many leading society people. 
It is a tribute to genius such as few 
singers have ever received. On the 
front page of the parchment book con- 
taining the names of the donors the 
following was written: 

“ “To Mme. Nordica: 

“We beg your acceptance of the accompany- 
ing ornament as a token of regard from some of 
your friends and admirers, and in recognition of 
your deserved artistic success, of which, as your 
com-patriots, we are justly proud.’ 

“Fraulein Olitzka — who was an im- 
passioned Ortrud — helped to put the 
tiara on Mme. Nordica’s head, while 
the curtain was raised for a moment 
so that the audience had an opportuni- 
ty to see how becoming it was. She 
did not need the ornament, however, 
for she was a most lovely Elsa un- 
adorned.” 

Of that epochal occasion Mr. Finck 
continues, “One could feel that her 
mastery of the difficult role of Isolde 
had made Elsa comparatively easy to 
her. Talk of Tristan ruining the voic- 
es of singers! If all singers’ voices 
could be as delightfully ruined as 
Mme. Nordica’s and Jean de Reszke’s 
have been, the musical millennium 
would be at hand. . . . Had Wagner 
been present last evening he would 
perhaps have felt that as he named 
his love-drama “Tristan and Isolde,’ so 
he ought to have called his first Grail 
opera Lohengren and Elsa.” 

There were some back home in her 
native state who, when reading of this 
Maine singer’s great triumph on that 
never to be forgotten night, recalled, 
no doubt, the incident of the wander- 
ing gypsy who had, in passing, stopped 
at the old Norton homestead in Farm- 
ington when Lillian was but a little 
girl, and who, seeing her standing in 
the doorway, predicted, “Child, you 
will some day wear a crown”—a proph- 
ecy which, though fulfilled, was not 


pe a ee 4 poe Fi 
RE STE el Se ie 


Dee ie 4 


MUSIC OF THE STATE OF MAINE 1897-1928 239 


consummated in just the way that the 
Norton neighbors had visualized it. 

On May 28, 1896, Lillian Nordica 
was married at St. Paul’s Episcopal 
Church, Indianapolis, to Zolton F. 
Doeme, the Hungarian tenor, whom 
she had known for about seven years. 
There were no attendants. Mr. and 
Mrs. Doeme afterward went to the 
Wagner Concert of the Indiana May 
Festival at which she appeared. That 
night she sang “I Know a Bank where 
the Wild Thyme Grows” with a feel- 
ing that brought tears to the eyes of 
more than one in the great audience. 

At the time of their marriage Nor- 
dica was thirty-seven years of age and 
Mr. Doeme was twenty-eight. To Mr. 
Doeme and the de Reszkes Nordica 
owed much for the development of her 
dramatic action and poetic interpreta- 
tion of Wagnerian roles. 

In 1897 Madame Nordica left the 
company and made a tour of the United 
States, supported by Madame Scalchi 
and Barron Berthold the young tenor. 

It was during this year that she ap- 
peared in Portland in the first Maine 
Music Festival, when with her in the 
same festival were Blauvelt, Evan Wil- 
liams, Gwilym Miles and Hans Kron- 
old. On the program with her were 
several Maine musicians including Eth- 
el Hyde, Lou Duncan Barney, Lillian 
Carllsmith, Hermann Kotzschmar, Jen- 
nie King Morrison and Harvey Mur- 
ray. Many recall how this beautiful 
daughter of Maine looked as she stood 
on the platform of the old Armory 
Building in Portland, tall, regal, hand- 
some in her gown of emerald green 
velvet; the profusion of flowers which 
nearly covered her; the thunders of 
applause with which she was greeted; 
her personality which radiated charm 
and graciousness and above all her 
magnetic womanliness. 

Afterwards she appeared in London 


as Isolde with Jean de Reszke as Tris- 
tan and in the Handel Festival. 

In 1898 she joined the Grau Com- 
pany at Covent Garden and sang with 
Lilli Lehmann, Emma Eames, both 
the de Reszkes, Mantelli and Van 
Dyck, in German and Italian opera 
during the season. 

In 1904 Nordica obtained a divorce 
from Mr. Doeme, and on July 29, 1909, 
married (Q.V.) George Washington 
Young, a New York banker, in Lon- 
don. They spent their honeymoon to- 
gether in Farmington, at the old home- 
stead, “Norton Woods,” and then went 
to live at her own home at Ardsley-on- 
the-Hudson. Her residence at Ards- 
ley she named “Amanda Villa” for her 
mother, of whom she was always ex- 
tremely fond. Madame Nordica at 
this time also owned an apartment 
house on Madison Avenue in which 
she retained one of the apartments for 
herself. 

Two months before her fiftieth birth- 
day Madame Nordica sang at a recital 
in Carnegie Hall. Of her appearance 
at this performance Mr. Finck wrote 
in part, “Often as Schumann’s ‘Nuss- 
baum’ has been sung here, she made 
it marvelously interesting by the sen- 
timent she infused into this story of 
the leaves whispering about the maid- 
en who dreamed, awake, of her lover 
and the wedding to come till she fell 
asleep and dreamed again. This is 
usually sung monotonously, like the 
whispering of the leaves. Mme. Nor- 
dica’ emphasized the human side (the 
heart story) and made a new song of 
it that made one sit up and listen. Her 
art has indeed ripened! ... 

“Hers is the true bel canto, allied 
with German sentiment. . . . Bizet’s 
Vielle Chanson gave her a chance to 
show that she has command of a 
smooth and effective trill which quite 
stirred the audience. Caré Selvé, an 


240 MUSIC AND MUSICIANS OF MAINE 


air from Handel’s ‘Atalanta,’ was sung 
in the true grand style, which Lill 
_ Lehmann alone was supposed to pos- 
sess. ‘There was ‘school’ in that ren- 
dering! ... By her dramatic inten- 
sity, which now and then thrills one’s 
every fibre, Mme. Nordica reminds one 
of Dr. Willner, but a Wiillner with a 
voice of velvet and a finished art of 
vocalization. She still has full com- 
mand in her floating pianissimos, such 
as no other singer now on the stage 
has at command, and which would be 
impossible with impaired breathing 
power.” 

About a week later Nordica sang 
with the New York Symphony Or- 
chestra and again proved that she was 
the greatest of Wagnerian sopranos. 
Mr. Finck declared that she sang the 
Gotterdammerung finale “with an op- 
ulence of tone and an emotional fervor 
that were thrilling. What golden puri- 
ty of tone and intonation! How ex- 
quisite the pianissimo of the line ‘Ruhe, 
Ruhe, du Gott!’ Here was the true 
Brunnhilde voice,—the Voix de Soleil, 
the voice full of sunshine .. .” 

Nordica’s final appearance at the 
Metropolitan was in December, 1909, 
after an absence of four years, and al- 
though her voice had begun to decline 
she was given a nightly welcome by 
the tremendous houses that greeted 
her. 

In November of this same year, sing- 
ing the title role of Giaconda, she had 
opened the Boston Opera House. 

A critic in Harpers Weekly for No- 
vember 12, 1910, under the caption, 
“An American Singer’s Triumph in 
France,” had this to say of Nordica, 
“She is the foremost living exponent 
of the greatest soprano roles in the 
Wagner list. No other singing actress, 
now before the public possesses in so 
eminent degree ‘the grand style,’ none 
other gives us an Isolde, a Brunhilde 


so amply conceived, so broad and he- 
roic in. despair, so sedulously in the 
larger manner, as she does.” 

Of her, Le Gaulois, the French re- 
viewer, wrote, “The appearance of 
Madame Nordica in “Tristan and Is- 
olde’ was for the public a true revela- 
tion, imposing, beautiful, the face ex- 
pressive and mobile, in her look and 
indescribable tenderness and languor, 
and at the same time, power and alert- 
ness; such is the physiognomy of Ma- 
dame Nordica.” 

Another Parisian reviewer referred 
to her as “One of the glories of lyric 
art, of whom Paris knew the universal 
reputation, but whose talent until now, 
it has but rarely had the opportunity 
to admire. Nordica by her perform- 
ance of Isolde placed herself in the 
very first rank of those artists whom 
Parisians elect to adopt as their very 
own. Her enormous success in this 
role will remain among the most cher- 
ished memories of Parisian lovers of 
opera. Her career has been rich in 
numerous triumphs, fertile in great 
episodes. 

“The character of Isolde is truly her 
very own. -With her breadth of style 
and her adherence to the purist tradi- 
tions, there are very few roles of the 
master’s repertoire in which she has 
not been acclaimed.” 

When Nordica again sang at Port- 
land with the Maine Festival Chorus, 
October 15, 1912, the audience rose as 
one person to greet her. After each 
of her numbers she was again and 
again recalled. 

The press referred to her appear- 
ance on this occasion as “a regal pic- 
ture of womanly grace” and to the 
concert as “a climax of thrills.” 

Hers were the first solo notes heard 
in the New Portland City Hall, with 
the Kotzschmar Memorial Organ, when 
in 1900, at a concert under Walter 


* aac —- 


tlie 


ema feet 


MUSIC OF THE STATE OF MAINE 1897-1928 241 


Damrosch’s direction, she sang to an 
audience which was proclaimed by the 
press of the city as “one of the largest, 
handsomest and most notable in the 
city’s history,” the music from “The 
Parsifal,” “Tannhauser,” “Die Meis- 
tersinger” and “Die Walkure.” Beau- 
tiful she was to look upon, that “first 
night,” in her cream satin gown 
trimmed with silver and diamonds, and 
her voice seemed as glorious as ever. 
The audience included a delegation of 
fifty from Farmington, the town of her 
birth. 

Nordica’s public appearances in the 
last years of her life were not many, 
but were always to crowded houses. 
In these years she was very happy in 
entertaining hundreds of friends dur- 
ing the summer seasons at her home 
in Deal, New Jersey. 

In 1913 Nordica started on a world 
tour and while en route received many 
offers, but declined them all. It was 
while on this voyage that the Dutch 
steamship, Tasman, on which she was 
a passenger, struck a reef in Torres 
Strait, off the coast of New Guinea 
near the Thursday Islands. Contract- 
ing pneumonia, following a nervous 
breakdown from the exposure, she 
lived but a few months. She died at 
Batavia, Java, on May 11, 1914. With 
her were her cousin, Ada Baldwin, and 
her sister, Mrs. Irene Walker, and in 
her company were Franklin Holding, 
Maine violinist, and Paul Dufault, 
tenor. 

During her life time Nordica was 
honored by nobility and she was the 
recipient of many beautiful gifts from 
members of the royal families in the 
monarchies of Europe. Among others 
she received decorations from H.R.H. 
Duke of Edinburgh and H.R.H. Duke 
of Saxe Coburg and Gotha and the title 
of Royal Chamber Singer. The Queen 
of England presented her with a brooch 


FRANKLIN HOLDING, WHO ACCOMPANIED LILLIAN 
NORDICA ON HER FATAL WORLD TOUR. PHOTO BY 
PLUMMER, LEWISTON, MAINE, 


composed of pearls, emeralds and dia- 
monds. 

Among the beautiful jewels left by 
Nordica at her death was a collection 
of emeralds of almost priceless value; 
a string of colored pearls which was 
appraised at one hundred thousand 
dollars; a string of matched pearls 
valued at one hundred thousand dol- 
lars; a string of black pearls said to be 
worth seventy-five thousand dollars; 
and a diamond collar composed of 
sixteen strands fringed with large 
white diamonds. 

It is said that Nordica’s fondness 
for pearls became almost a passion 
with her and it was indeed a strange 


242 MUSIC AND MUSICIANS OF MAINE 


circumstance that this great singer’s 
career should have been terminated 
among those very islands where scores 
give up their lives yearly in quest of 
those rare gems which she so much 
admired. 

As a concert artist there were but 
two vocalists in her time who were 
able to command a greater honorari- 
um. For each performance she nightly 
received two thousand dollars. It is in- 
teresting to compare the amounts paid 
contemporary artists, who in 1914 were 
said to receive the following amounts 
per concert: Melba, $3,000; Caruso, 
$3,000; Schumann-Heink, $1,800; 
Fremstad, $1,800; Sembrich, $1,500; 
Eames, $1,500; Gadski, $1,200; Plan- 
con, $1,200. 

Nordica sang many times during her 
musical career and it is reported that 
in a single season she received for her 
appearances one hundred and twenty- 
eight thousand dollars. 

Nordica never forgot her love for 
Maine. She made three visits to Farm- 
ington after she had become famous. In 
1878, shortly after the M. E. Church 
was dedicated, she sang there; in 1883 
she appeared in concert at Merrill 
Hall; and in August, 1911, following 
the purchase of her birthplace, after 
an absence of more than twenty-seven 
years, she held a recital there to the 
great delight of her audience, of towns- 
people and others, numbering more 
than two thousand, who came from 
miles around to hear her sing again. 

Nordica’s natural inclinations were 
domestic. She learned to sew and 
make her own dresses and it is said 
that she designed most of the wonder- 
ful gowns that she wore and which 
were the marvel of Europe and Amer- 
Ca: 
Nordica took a deep interest in all 
charitable, patriotic and musical enter- 
prises, and, in her later years, delivered 


a number of lectures, among which 
was one on “The Progress of Women 
in Music.” She was a contributor to 
some of the leading American maga- 
zines, was an ardent advocate of wom- 
an’s suffrage, and at one time organ- 
ized a benefit concert to aid that cause. 

One of the last evidences of Nordi- 
ca’s thoughtfulness of others was shown 
when, but a short time before her 
death, a young American, George Mac- 
Donald, a fellow passenger on the Tas- 
man, was taken suddenly ill and died. 
Though ill unto death herself she 
caused a suitable memorial to be placed 
over his grave. 

The story of Nordica’s life and her 
capacity for and willingness to work, 
unceasingly, that she might attain her 
artistic ambitions will always be a 
source of inspiration to young and am- 
bitious singers, yet one cannot help 
but feel saddened as he reads, for 
there seems to have been an underly- 
ing note of tragedy running through- 
out its course. 

Nordica’s life ambition had been to 
open a school of music where promis- 
ing young singers could study with the 
foremost teachers of the world. She 
bought a large tract of land near Os- 
sining at Croton-on-the-Hudson at a 
cost of one hundred thousand dollars 
and made preparations for organizing 
a great American Institute of Music, 
similar to that of the Wagner Festivals 
at Bayreuth. 

Among the plans projected, besides 
the school, was an opera house with a 
seating capacity of five thousand. It 
was planned to use the house which 
stood on the property as an adminis- 
tration building. 

A million dollars was pledged, but 
for reasons that may never be known 
this project was not brought to fruition. 
Her thought, she said, was to save 
young artists of promise much of the 


Dee ae pe a RA et Pah ie Ie 


‘io 


RET. Sa een et ee eh Pe erate 


Perce 


ete ere 


er eee eit heh. 


MUSIC OF THE STATE OF MAINE 1897-1928 243 


hardship that she had endured so that 
they might achieve their ends without 
such great personal sacrifices as she 
had suffered. 

Of this she wrote, “I want to see 
American girls with voices properly 
started. I want to save them, as far 
as possible, from the terrible fate that 
overtakes so many of them who go to 
Europe to study and then pass out of 
sight. In most cases, poor students, 
who go to Europe are at the mercy of 
the world.” But she did not live to 
realize her ambition to carry out this, 
her great desire, as she had planned it, 
and her entire estate, real and person- 
al, estimated at over a million dollars 
was bequeathed toher sisters, Madame 
Imogene Castillo, Annie Baldwin and 
Irene Fuller. 

Success did not come easily to Lil- 
lian Nordica, yet by sheer effort she 
reached the heights. Her voice, which 
at first was thin, was developed by un- 
remitting practice under the best teach- 
ers into one of the most beautiful as 
well as powerful in the world. She did 
not commit words to memory readily, 
yet she had a repertoire which includ- 
ed the leading roles in more than forty 
operas. She did not come naturally by 
linguistic accomplishments, yet through 
unceasing effort she was able to mas- 
ter every detail of the most difficult 
foreign languages. 

At the time of her death the Boston 
Herald, of which Philip Hale was mu- 
sic editor, said, “It was not easy for 
her to master a role. There was need 
of long and laborious preparation. Her 
ambitions were great; her eagerness to 
study; her admirable perseverance en- 
abled her to accomplish an artistic 
purpose.” 

Of her success in German opera, it 
continues, “Her grit enabled her to 
triumph at last in operas that had 
been a sealed book.” 


All who are ambitious, whether de- 
sirous to seek fame and fortune in the 
world of music or any of the arts or 
sciences, are commended to the thought 
expressed by Nordica in a conversa- 
tion with William Armstrong, who 
wrote of her, ““Nordica has been to me 
a most interesting example of success 
through unstinted and unyielding work 
and sheer force of energy and will. 
She, herself, once said to me, in speak- 
ing of the relative successes with and 
without work: ‘If you work five min- 
utes, you succeed five minutes’ worth; 
if you work five hours, you succeed 
five hours’ worth. Plenty,’ she added, 
‘have natural voices equal to mine, 
plenty have talent equal to mine, BUT 
I HAVE WORKED,” 

Following her tragic death, editori- 
als acclaimed her the greatest of Amer- 
ican dramatic sopranos and attributed 
her success to her indefatigable energy, 
her tremendous ambition, and her love 
for her work. 

The New York Evening Post critic 
referred to her as “The greatest vocal 
artist America has produced’; the 
Times that “none has surpassed Nor- 
dica in vocal power, artistic compre- 
hension, dramatic skill or ambition”; 
the Sun that, “Nordica, achieved what 
she did by sheer power of indomitable 
resolution, unceasing study and fine 
intelligence. She was one of the best 
Aidas ever known to the stage; Her 
Lenore in ‘I] Trovatore’ and Selika in 
‘L’Africaine’ have not been excelled; 
Her Marguerite had qualities of great 
beauty; Her Valentine in ‘Les Hugue- 
nots’ was a model”; the New York 
Glcbe, that “Sound teaching, hard 
study and a firmness of purpose, un- 
swervable, made Lillian Nordica a 
singer to stand with the best that 
America has given the world.” 

From the Review of Reviews 1s 
quoted, “As a Wagnerian singer and 


244 


MUSIC AND MUSICIANS OF MAINE 


actress Mme. Nordica for many years 
had no equal. Aside from her majes- 
tic figure and bearing, eloquent ges- 
tures and expressive facial miming, she 
possessed a voice of unusual clarity 
and power, which lent itself admirably 
to emotional utterances. Her German 
diction spelled perfection and her in- 
tonation, even in such a difficult scene 
as the second act of “Tristan,’ never 
deviated from correct pitch. Mme. 
Nordica registered great successes also 
in ‘Aida, ‘Marriage of Figaro,’ and 
many other operas of the dramatic 
type.” This critic also declared that 
she was “one of the greatest and one 
of the most popular artists ever at the 
Metropolitan,” and spoke of her as 
being generous, warm-hearted, ambi- 
tious and a hard worker. | 

The Musician referred to “the de- 
velopment of personal strength of char- 
acter which accompanied her growth 
in artistic stature” and stated that her 
enormous persistence and unremitting 
diligence had brought her success. 

In 1912 this same magazine had 
said of Nordica, “Beginning with what 
used to be considered the typical Amer- 
ican soprano voice, high, light, sweet 
and flexible she kept on undaunted at 
work enlarging her sphere, both of ar- 
tistic ambition and voice, by legiti- 
mate means until she finds herself now 
one of the world’s great singers, the 
accepted representative of America’s 
vocal art at its best;” and in another 
issue of that year, that, “she rose to 
fame and success on a ladder that at 
times seemed to have unending rungs 
of hardship, privation, disappointment 
and work. Success has not altered 
Nordica except perhaps to enrich her 
character and to add to her wonderful 
personal magnetism,— She loves her 
work with an all-consuming love.” 

The Review of Reviews again re- 
ferred to her as “The greatest dra- 


matic soprano America has produced 
and one of the really great singers of 
the world,” that she was “preéminent- 
ly an artist judged by the highest 
standards,” and that she was “best 
known and loved in New York, but 
her ripe art was as much admired in 
London, Paris, Bayreuth, Munich, Ber- 
lin and St. Petersburg.” 

Who that has seen her Isolde will 
not recall that sublime and marvelous 
scene, as she sings the Leibestod, and 
hear again in memory the modulations 
of her wonderful voice as she executes 
the impassioned melodies in that ex- 
quisitely beautiful and most ecstatic 
love song in the whole realm of music? 


“See how softly he is smiling! 
Parted eyelids, sweet beguiling! 
See ye nothing? Not my love? 
How he beameth, ever brighter, 
Steeped in starlight bourne above? 
See ye not how his heart with kingly zest 
Calmly happy beats in his breast? 
From his lips, in heavenly blends, 
Sweetest breath he softly sends. 
Harken all, hear ye not my friends? 
Is it I alone am hearing 
Strains so tender and endearing? 
Passion swelling, 
All things telling; 
Love redeeming 
From his beaming; 
Sound that trembles, upward rushes; 
Trumpet tone that round me gushes! 
Brighter growing, 
O’er me flowing; 
Are these waves of wondrous brightness? 
Are they clouds of filmly lightness? 
See they rise and gleam and glisten! 
Shall I breathe them, shall I listen? 
Shall I drink them, dive within them, 
To my panting breathing win them? 
In the breezes around, 
In harmonious sound, 
In the world’s driving whirlwind be drowned; 
And sinking, 
Be drinking 
In a kiss! 
Highest bliss!” 


The attainment of the highest suc- 
cess in music may be said to be de- 
pendent upon four important factors: 
the gift of a rare voice, or more than 


= 
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MUSIC OF THE STATE OF MAINE 1897-1928 245 


usual talent for instrumental music or 
composition; a desire to cultivate that 
gift to the exclusion of all other inter- 
ests; continued application to the study 
of music, especially in the branches in 
which one excels; and the willingness 
to practice thrift and cultivate the 
habit of saving, that one may come to 
study with only the best teachers, in 
order that the coverted end may event- 
ually be attained. 

The lives of Annie Louise Cary and 
Lillian Nordica offer striking exam- 
ples of determined effort and self de- 
nial that resulted in the highest artistic 
and material success— examples that 
all ambitious young students of music 
would do well to emulate. In them 
was the zest for conquest and the will 
to win, without which no true success 
and happiness can be attained. 


Emma Eames 


Though born in Shanghai, China 
(August 13, 1865), Emma Eames has 
always been claimed as one of Maine’s 
own daughters. Her father, Ithamar 
Bellows Eames, a native of Freeport 
and the son of an East Indian sea 
captain, became a lawyer of interna- 
tional reputation. Her mother, Emma 
Hayden Eames, born in Bath, was her 
first music teacher. After graduation 
from the Bath High School Emma 
Eames went to Boston where she be- 
came a pupil of Clara Munger and 
while there sang in the Channing 
Church at Newton, Mass. 

John Knowles Paine became inter- 
ested in her voice and engaged her to 
sing the soprano parts in vocal illustra- 
tions for his series of lectures on Old 
Church Music, and her musical ex- 
perience with him was one of the most 
valuable in her life. 

One of her very earliest public ap- 
pearances in Maine was in the Stock- 
bridge Course in Portland 


EMMA EAMES, AT HER HOME IN BATH, MAINE. 
PHOTO BY HUBBARD, PORTLAND. COURTESY OF THE 
PORTLAND, MAINE, PUBLISHING COMPANY. 


In 1886 she went to Paris and stud- 
ied singing with Mathilda Marchesi 
and stage deportment with M. Pluque. 
In 1891 Miss Eames married Julian 
Story and after Mr. Story’s death 
married Emilio de Gogorza, baritone 
soloist, in IQII. 

Her first appearance abroad was at 
the Opera in Paris, March 13, 1889, 
as Juliette in Gounod’s “Romeo and 
Juliette” and she continued there for 
two years, during which she created 
the role of Colombe in Saint Saens’ 
“Ancanio” and the title role in De la 
Nux’s “Zaire,” and while there, from 
the President of France she received 
the decoration of “Officer of the Acad- 
emy.” 

She made her debut in Covent Gar- 
den, London, April 7, 1891, as Mar- 
guerite in “Faust.” While in London 
she became an object of admiration of 
Queen Victoria from whom she re- 
ceived many rare and beautiful gifts. 


246 MUSIC AND MUSICIANS OF MAING 


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SIDNEY FARRAR, BORN IN SOUTH PARIS, ME., AND 
HIS DAUGHTER, GERALDINE FARRAR. 


Her first appearance in New York 
was with Jeane and Edouard de Reske 
as Juliette in December, 1891, and her 
last in grand opera was at the Metro- 
politan in “La Tosea? in 19m \onsthe 
twenty-fifth anniversary of her debut 
in Paris. Her last stage appearance 
was in Portland in 1916 when she sang 
for a fund for one of the city’s worthy 
charities. 

Her repertoire came to embrace 
many grand opera roles and she was 
acclaimed by critics as one of the great- 
est among the world’s prima donnas. 
Her performances at the Metropolitan 
were a succession of triumphs. 

Before Cary had retired from the 
public eye, Nordica with all the fresh- 
ness of youth came into notice and 
while Nordica was at the height of her 
glory Eames appeared. Since Eames 
there has not been another Maine sing- 


er who has been able to reach the 
heights in vocal music that these have 
done. Who will be the next and how 
soon?! And when she appears will she 
equal or surpass them all? Some young 
vocalist, now attending one of the great 
conservatories of the country? Per- 
haps. Butit may be that the next great 
Maine diva is as yet unborn. Maine 
should not be content to rest on her 
laurels. She should always be on the 
alert to discover and encourage her 
most talented sons and daughters that 
she may continue to maintain her 
leadership in the Music of the Nation. 

But what a glorious galaxy were 
these three: Cary, Nordica, Eames! A 
trinity of vocal loveliness, unsurpassed 
in any state or country in the world! 

One naturally associates the name 
of Emma Eames with Maine, not so 
much because she came of Maine par- 
entage, as because she spent a large 
part of her life, as well as her child- 
hood, in Maine; and she has therefore 
come to be thought.of by the people of 
the State of Maine as a Maine girl; 
but another opera star, who, though 
like Eames was not a native of Maine, 
yet unlike her was not a resident, may 
at least be said to be a granddaughter 
of Maine, for her father, a Maine man, 
was born in Paris, where from the 
time he was a boy, in his spare mo- 
ments, he ran bases for the home ball 
team when he wasn’t singing tenor in 
the choir of the little white church in 
the town. 

Sidney Farrar became famous as a 
ball player in his day, and his talented 
daughter, Geraldine, came to be one 
of the most notable opera stars in her 
generation. Miss Farrar’s” “success 
came to her early. At nineteen she 
sang Marguerite at the Royal Opera 
in Berlin, when, by her novel spon- 
taneity and the freshness of her youth, 
she won the hearts of her hearers and 


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MUSIC OF THE STATE OF MAINE 1897-1928 247 


became the sensation of the season and 
the idol of the German capital. 

Her first appearance in America 
came in November, 1906, as Juliette 
at the Metropolitan, where she was 
enthusiastically received; but her in- 
ternational reputation had earlier been 
made at the time of her debut with 
Caruso at Monte Carlo. 

Her Madame Butterfly, in which 
she employed all her subtle arts of 
make-up and mimicry, was considered 
by many to be one of the most fin- 
ished and artistic performances of that 
role, but her Carmen, characterized by 
scintillating qualities of resource and 
an unrestrained display of frenzied 
abandon that had been undreamed of 
before, in any interpretation of the 
part, was declared to be the most dra- 
matic of any portrayal of that char- 
acter by an opera star. 

But there are other Maine musicians 
who have become internationally fa- 
mous and among these have been: Flo- 
ra Barry (also born in Paris, Maine), 
whose magnificent contralto voice and 
intelligent interpretation of oratorio 
was hardly second to that of her fa- 
mous sister-in-law, Annie Louise Cary; 
Minne Scalar, soprano (born in West 
Paris), who in 1896 was leading dra- 
matic soprano of the Royal Opera 
House at the Hague, where she sang 
for two years in the principal standard 
grand operas, and afterwards for two 
seasons at Covent Garden, London, 
and at the Grand Opera House at Par- 
is; Charles Marshall (tenor), famous 
opera star with the Chicago Opera 
Company; Arthur Hackett (tenor), 
eminent American concert artist; and 
Willie Ferrero, infant prodigy who 
took nearly the whole of Europe by 
storm with the wizardry of his con- 
ducting of the largest and most fin- 


ished orchestras on the continent. 


Flora Barry made her professional 


acd 


CHARLES MARSHALL, DRAMATIC TENOR WITH THE 
CHICAGO OPERA COMPANY. PHOTO BY DAGUERRE, 
CHICAGO. 


debut with the Mendelssohn Quintette 
Club of Boston, which then included 
Carl Meisel, Wolf Fries, Robert Goer- 
ing and Thomas Ryan, who was its di- 
rector, and who, having overheard her 
taking a singing lesson, promptly en- 
gaged her. As a result of her first ap- 
pearance with this club she was signed 
up a month later by the Handel and 
Haydn Society to sing the alto solos 
in Elijah with Mme. Guerabella in the 
soprano role. Then followed an en- 
gagement as soloist for an entire sea- 
son with Gilmore’s Band, the first in 
America to give concerts in halls and 
theatres. Mrs. Barry, who was then 
the wife of Capt. J. S. Cary, went with 
his company into camp when the Civil 
War broke out and there she became 
a veritable “daughter of the regiment,” 
singing and ministering to the soldiers. 

Mrs. Barry appeared in concerts 
with Camilla Urso, Carl Rosa and Ole 
Bull and was also associated with Ru- 
binstein. 

In June, 1870, she sang under Ma- 


248 MUSIC AND MUSICIANS OF MAINE 


bellini at Florence, Italy, in a perform- 
ance of “La Messa Solenne” for the 
repose of the soul of Gioachino Rossini. 
Her last days were spent in Boston 
where she died in penury. 

Further reference to these artists, 
all of whom, excepting Mrs. Barry, 
were living in 1928, will be found in 
succeeding pages of this book. 


Saco Valley Music Festivals 


From 1913 to the time of Maine’s 
Centenary, the first week in August 
of each year were memorable ones for 
Bridgton, because of the series of con- 
certs that were given during those 
years at the sessions of the Saco Val- 
ley Music Festival, with its chorus of 
two hundred and fifty or more voices 
and its nationally and internationally 
famed soloists, many of whom were 
summer residents of the lake regions 
adjacent to the upper valley of the 
Saco River. For seven years hundreds 
of people annually journeyed to Bridg- 
ton, not only from surrounding towns, 
but from many cities in distant states 
while others planned their vacations 
months in advance in order that they 
might be there during Festival time. 

Olive Fremstad, Alice Nielsen, Marie 
Sundelius, Rudolph Ganz, Charles 
Harrison, Frederic Martin, Reed Mil- 
ler, Frank Croxton, Andrea Sarto, 
Myrna Sharlow, Ruth Thayer Burn- 
ham, Beulah Gaylord Young, Blanche 
Manley, Helen Yorke, Crescenzo, J. 
Ellsworth Sliker, Jose Shaun, Lida Shaw 
Littlefield, Lydia Vosberg, Arthur Loes- 
ser and Inez Faye Armstrong (a native 
of Bridgton) were a few of those who 
contributed their artistry to the pro- 
grams of the Saco Valley Festivals. 
These artists, and many others, not 
only gave generously of their talent in 
order that the very highest in music 
might be enjoyed by the people of 
the Saco Valley, but they exhibited 
throughout the whole period a friendly 


interest in the work of the local chorus. 

The idea of organizing choral unions 
in the towns of the Saco Valley, to 
meet as a grand chorus in midsummer 
in Bridgton for a three days’ Festival, 
with famous artists and orchestra as- 
sisting, originated with Llewellyn B. 
Cain, then a teacher of music in Port- 
land. His thought was to develope la- 
tent talent, to bring young and old to- 
gether for the study of good music, to 
establish a high standard among the 
youth and to give opportunity to those 
who lived away from the centers of 
population to hear great singers and 
musicians. In the fall of 1912 he or- 
ganized choral unions which he con- 
ducted in Bridgton, Kezar Falls, Steep 
Falls, Standish, Limington and Frye- 
burg, Maine, and North Conway, N. 
H., and in the first season he conduct- ~ 
ed one hundred twenty-seven rehears- 
als. On August fourth and fifth, 1913, 
the first Saco Valley Festival was held 
in Bridgton’s Town Hall, when a chor- 
us of three hundred, representing the 
choral unions of the different towns, 
was assembled. Marie Sundelius, the 
then young and ever beautiful Swedish 
singer, was the leading artist; Helen 
Yorke, just beginning her musical ca- 
reer, was a soloist; and the old Port- 
land Symphony Orchestra furnished 
instrumental music and accompani- 
ments. 

The concerts created a desire among 
the townspeople to make the Festival 
a permanent feature of each summer. 

For several years concerts were also 
given in the winter by the choral un- 
ions, and a portion of the combined 
choruses appeared at a number of the 
Municipal concerts in Portland City 
Hall. 

In 1918 the Saco Valley Festival 
reached the apex of its ambitious ca- 
reer, when Madame Fremstad, Alice 
Nielsen, the Bostonia Sextette, John 


—- oes 


ei = NE a Yee, AR. Be ee 
7 i A 


MUSIC OF THE STATE OF MAINE 1897-1928 249 


C. Freund, editor of Musical America, 
Charles Harrison, Andrea Sarto, Mrs. 
Beulah Gaylord Young and Lydia 
Vosberg, were among the attractions 
featured. 

Officers of the Choral Unions who 
contributed to the success of the Saco 
Valley Festival Chorus were: 


Bridgton Choral Union—Stephen T. Liv- 
ingston, President; Allen P. Clarke, Vice Presi- 
dent; Harold H. Burnham, Secretary; Jessie E. 
Murphy, Treasurer; C. H. Mackay, Librarian; 
Myrtle A. Burnham, Pianist. Steep Falls Choral 
Union —F. L. Strout, President; Charles San- 
born, Vice President; C. J. Henderson, Secre- 
tary; J. R. Tompkins, Treasurer; L. D. Booth- 
by, Librarian; Ruth Tucker, Accompanist. 
Kezar Falls Choral Union—W. T. Norton, 
President; Lottie Chapman, Secretary; Jeanie 
Chapman, Treasurer; Florence R. Garner, Ac- 
companist. Limington Choral Union —H. F. 
Maxim, President; Mrs. H. H. McKenney, Vice 
President; Mrs. W. H. McKenney, Secretary; 
Alma C. Moulton, Treasurer; William A. Dim- 
moch, Accompanist. Limerick Choral Union — 
Mrs. Alton G. Johnston, President and Corre- 
sponding Secretary; Alice J. Libby, Recording 
Secretary and Treasurer; Mrs. Fannie M. Pease, 
Librarian. Mount Kearsarge Choral Union — 
Rev. D. A. Pearson, President; D. H. S. Mackay, 
Vice President; R. W. Smith, Treasurer; M. A. 
C. Pray, Librarian; Rev. John Dunstan, Secre- 
tary. Fryeburg Choral Union — Mary Wood- 
ward, President; Mrs. M. K. Woodside, Vice 
President; Mrs. S. T. Achenbach, Secretary; 
Mrs. Francis Swan, Treasurer; Mrs. Herbert 
Lowell, Accompanist. South Windham Choral 
Union — Arthur C. Soule, President; Walter 
Harlow, Vice President; Mrs. Mary B. Soule, 
Secretary; Mrs. Flora M. Gerry, Treasurer; 
Katherine Soule, Accompanist. White Rock 
Choral Union—C. Eugene Knight, President; 


Orrie D. Bragdon, Vice President; Maude C. 


Knight, Seretary and Treasurer; Gertrude Bodge, 
Librarian; Mrs. Arthur C. Soule, Pianist. 
While, for the lack of a conductor 
with enthusiasm sufficient to carry on 
the work begun by Mr. Cain, no Fes- 
tivals have been held since 1920, con- 
cert programs of community singing 
and other musical events have been 
annually held at the Town Hall and 
interest in music has continued to be 
manifested in school, church and com- 


munity life throughout the length and 
breadth of the Saco Valley. 


Community Singing 


Following the lead of Rochester, 
New York, in which city the national 
community chorus movement is be- 
lieved to have originated in the winter 
of I914-15, there was organized by 
Charles Barnhardt, a little later in 
New York City, a community chorus 
of mammoth proportions. The Buf- 
falo Community Chorus came into ex- 
istence in January, 1917; and similar 
choruses were formed in Manetta, 
Ohio, Chester, Penn., Brooklyn, Buf- 
falo and Ellicottville, N. Y., and Prov- 
idence, R. I., in February of that year. 
Maine was not far behind in this pop- 
ular movement for during the first 
week in March, 1917, the People’s 
Community Chorus of Portland was 
organized by George Thornton Ed- 
wards. 

While other laudable attempts at 
community singing in the State had 
been earlier made, notably by the in- 
troduction of the singing of two or 
three hymns each Sunday at the Mu- 
nicipal Concerts in Portland and by the 
forming of a chorus from singers who 
had taken part in an _ evangelistic 
campaign in February, 1917, which, 
in March, had taken the name of the 
“Portland Community Chorus,” the 
first attempt at community singing in 
its truest sense, in Portland, and per- 
haps in the State, may be said to have 
been made in the summer of 1913 
when Andrew Jackson, a chorister in 
one of the churches of that city, invit- 
ed the people who lived in the neigh- 
borhood known as Deering Center, and 
others interested, to attend a series of 
out-door community sings in the old 
disused trotting park, known as Pre- 
sumpscot Park, the site of which later 
came to be occupied by the Deering 


250 MUSIC AND MUSICIANS OF MAINE 


ANDREW JACKSON, SONG LEADER. THE FIRST TO 
CONDUCT AN OUTDOOR COMMUNITY SING IN PORT- 
LAND. PHOTO BY ADAMS STUDIO, PORTLAND, ME. 


High School Building. The response 
was immediate and for three seasons, 
during the months of July and August, 
community sings were held every week, 
and the neighbors, sometimes to the 
number of five hundred or more, gath- 
ered to sing familiar hymns and songs 
of other days, to the accompaniment 
of a portable organ, under Mr. Jack- 
son’s direction. 


Portland Community Music 
Association 


The first community chorus to be 
organized in the State of Maine on the 
broad non-sectarian plan adopted by 
the great community choruses first 
cited above, was the People’s Com- 
munity Chorus of Portland. 

The first officers of the People’s 
Community Chorus, which was organ- 
ized in February, 1917, with the fol- 


lowing purposes: “to develope com- 
munity singing and community music 
in all its branches; to bring out the 
true community spirit; to discover and 
develope local talent, musical, dramat- 
ic, literary and artistic; to encourage 
local composers, writers, musicians, 
singers, readers, players and entertain- 
ers; to assist, as far as possible, local 
composers and writers in getting their 
works before the public; to educate 
the people to the real value of com- 
munity singing to the community; and 
all other things and purposes incident 
to any and all of the above,” were 
George Thornton Edwards, President 
and Conductor, Ralph D. Littlefield, 
Treasurer, and Abbie A. Robinson, 
Secretary. ‘The society was incorpo- 
rated under the name of the Portland 
Community Music Association, as a 
musical organization, under the laws 
of Maine, in January, 1918. 

Community sings by the People’s 
Community Chorus were held weekly 
from March until June, 1917, with ever 
increasing interest, when in that month 
a concert was given in the City Hall 
in Portland in which more than four 
thousand people, representing every 
race and nation living in the city, par- 
ticipated in the singing of the com- 
munity and patriotic songs on the pro- 
gram prepared for that occasion. 

A number of community sings were 
held in other halls and theaters in 
Portland during the summer and fall 
of 1917 in which thousands joined in 
lending their voices to swell the vocal 
volume in this well organized effort to 
stimulate an interest in mass singing. 


State Liberty Chorus 


To meet the demands of patriotic 
societies in Portland and other cities 
in the State for assistance in raising 
funds for war work, the State Liberty 
Chorus was organized in December, 


Tat te eI 


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Pe Re ee Se ETS A, ON CS ee SN ee wr Ta ee aE LN PT 


MUSIC OF THE STATE OF MAINE 1897-1928 251 


1917, and the People’s Community 
Chorus automatically became the Port- 
land Unit of the newer State-wide 
organization. 

Officers for the greater part of its 
active life were: 


President, Mrs. Sarah Rideout Abbott of 
Saco; Vice President, Mrs. Frederic E. Booth- 
by of Waterville; Treasurer, Rev. Frank E. Bald- 
win of Fairfield; Secretary, Abbie A. Robinson 
of Portland; and Director General of the Chorus, 
George Thornton Edwards of Portland. 


The Liberty Choruses throughout 
America were organized in accord- 


-ance with the plans of the Council of 


National Defense and were originally 
intended to help win the war. They 
proved so useful that when the war 
Was over the government urged all 
Liberty Choruses in the country not 
to relax their efforts but to become or- 
ganized on a permanent basis to con- 
tinue the work of welding the com- 
munity spirit. 

On December 18, 1918, the State 
Liberty Chorus was incorporated un- 
der the Maine law and its stated ob- 
jects were: 

“To mobilize the musical and patriotic forces 
of the State of Maine into one great patriotic 
chorus, the members of which shall learn and 
know the same songs so that they may be able 
to sing them under reliable, patriotic and in- 
spiring leadership wherever they may meet at 
any time and to be subject at all times to the 
call of the Governor of Maine, and the Director- 
General of the Chorus.” 

Among its further aims it proposed 
to develope Maine talent in so far as 
possible, to encourage Maine compos- 
ers and to make a collection of the 
works of Maine composers past and 
present. 

More than fifty units of the State 
Liberty Chorus were organized in as 
many towns in Maine. ‘Thousands 
gathered in the principal music centers 
of the State and sang inspiringly to the 
accompaniment of army and concert 
bands and orchestras, supplemented 


by choruses numbering sometimes sev- 
eral hundred at the weekly “Liberty 
Sings” which were held throughout 
Central and Western Maine, first in 
one city or town and then in another, 
under their State Director. So popu- 
lar were the “Liberty Sings” in Maine 
that theatres and halls and churches 
in many of the towns were not large 
enough to accommodate the crowds of 
people who came to participate in 
them. 

Among some of the most notable 
“Liberty Sings,” which were held in 
1918, was an outdoor sing led from 
the steps of the City Building to aid 
the War Savings Stamp Drive in Port- 
land, when more than four thousand 
people, accompanied by the Fifth In- 
fantry C. A. C. Band, joined in the 
singing of the “Liberty Songs.” 

There were four memorable Sunday 
afternoon “Liberty Sings” at Water- 
ville during August, 1918, at the first one 
of which but a handful of people were 
in attendance, but at the second, held 
on the following Sunday, a thousand 
were present. At the third, the Opera 
House was packed to capacity and, be- 
cause they had become so popular, it 
was necessary, in order to hold the 
fourth “Liberty Sing,” to secure the use 
of the Chautauqua tent for the evening. 
On this occasion, according to esti- 
mates, twenty-five hundred people, 
who completely filled the canvas en- 
closure, sang the “Songs of Liberty,” 
while another thousand clamored for 
admittance. These were followed by 
a great outdoor sing at the Central 
Maine Fair, when Liberty Chorus 
members from all parts of the State 
gathered to sing under their Director 
General and nearly five thousand voices 
were raised in song to the accompani- 
ment of the Portland Band which 
played under the leadership of W. E. 
Chandler. 


252 MUSIC AND MUSICIANS OF MAINE 


Brief excerpts from the account in 
the Biddeford Journal of the morning 
following the first of a series of sings 
in that city, when more than a thou- 
sand people joined in the singing, are 
presented here in testimony of the 
great degree of enthusiasm which pre- 
vailed in many places wherever these 
weekly “Liberty Sings” were held. 


“Biddeford’s first great Liberty Sing at the 
opera house Sunday evening was a big success. 
The enthusiastic assemblage joined with all its 
might in singing the ‘Songs of Liberty’ under the 
compelling and inspiring leadership of State 
Director General, George Thornton Edwards. 
Long before the opening hour people arrived and 
in less than ten minutes after the doors were 
opened the hall was well filled .. . 

“The singing by the people was, of course, the 
feature of the evening, as had been previously 
announced, and it was not long before Director 
Edwards had the great throng singing with a 
vengeance. It was some contest, when it came 
to ‘Over There,’ and the rafters of the opera 
house fairly reverberated .... 

“‘The Suanee River,’ the phrases of which 
were sung by the people in the body of the 
house and echoed by those in the balcony and 
‘The Long Long Trail’ were sung over and over 
again, the audience still asking for more .. . .” 


Of the “Liberty Sing” held in Bid- 
deford on the following Sunday eve- 
ning when the theatre and broad stair- 
ways were jammed with people unable 
to get in and more than a thousand 
others were turned away, the Journal 
reported: 

“Director Edwards conducted the singing of 
the ‘Liberty and Victory Songs’ by the people, 
and the vast assemblage entered heartily into 
the spirit of the occasion by joining in with a 
will and cheering their favorite number to the 
echo. 
meeting would be brought to a close by singing 
the national anthem, there were calls from all 
over the house for more.” 

Another great occasion in which the 
Liberty Chorus participated was the 
“Welcome Home” to the Ossipee Val- 
ley boys on July 4, 1919, when ten 
thousand people gathered in the village 
square to listen to and take part in a 
huge “Victory Sing” in which the State 


Even when it was announced that the . 


Liberty Chorus Director was assisted 
by the Cornish Unit of the State Lib- 
erty Chorus, with fifty vocalists who 
sang from a specially constructed plat- 
form in the center of the square. 

With the close of the war the work 
of the State Liberty Chorus was done 
and while the organization was still 
in existence in 1928, its members which 
numbered thousands came to be classi- 
fied among the “scattered and gone” 
and at that time it was believed that 
its last song had been sung. | 

The great mission of the Liberty 
Chorus appears to have been that it 
filled an immediate need during the 
last days of the World War. Through 
its various units, all over the country, 
millions of dollars were raised for war 
work and war relief and through the 
thrill of joining their voices in the sing- 
ing, with such large numbers of others, 
in one great chorus, many were in- 
spired to do generous deeds and under- 
take individual burdens which enabled 
the nation to “Carry On.” 

The State Liberty Chorus of Maine 
never refused its services for any pa- 
triotic endeavor. Musically it aided 
in giving Opportunity to singers with 
but a slight acquaintance with music 
to sing with others of greater musical 
knowledge and it was said “that if the 
Maine Liberty Chorus did nothing 
more, it accomplished a great deal in 
improving the singing in the grange, 
and in the congregations of the church- 
es in the smaller towns of the State.” 

A few weeks before the close of the 
war Mr. Edwards was appointed to 
the office of State Musical Director by 
the National Council of Defense. It 
is estimated that during the active 
period of the State Liberty Chorus 
that he led nearly one hundred thou- 
sand people in the State of Maine in 
singing the “Songs of Liberty.” 

The State Liberty Chorus of Maine 


A GN an, Ore ae 


bie eixert is 


pene Satya ae regs oh Ris BC, ats 


MUSIC OF THE STATE OF MAINE 1897-1928 


was the second Liberty Chorus to be 
organized in America and the first to 
be legally incorporated in the United 
States. 

During the war period community 
singing was independently featured 
with success in several of the larger 
cities and towns in Maine, notably in 
Lewiston, with Vernon Stiles as song 
leader; Bangor, with Adelbert Wells 
Sprague, leader; and Bridgton with 
Charles Harrison, leader; while the Lib- 
erty Chorus units scattered throughout 
the State were conducted by their lo- 
cal leaders, all of whom did splendid 
work by aiding in attracting large num- 
bers of people that the speakers, sent 
to Maine by the government, might be 
heard by many. 


Chamber Music 


In 1898, on his return to Portland 
from Germany, Dr. Latham True or- 
ganized a trio which began under the 
name of the Chamber-Music Trio. 
With him were William True Cousens, 
violinist; and Charles F. Jones, vio- 
loncellist. The first recital of the 
Chamber-Music Trio of Portland took 
place in December of that year, when 
complete works by Gade and Reis- 
siger were given. This organization 
continued to function until 1911 and 
gave public performances in a number 
of Maine cities before invitation audi- 
ences. Fred Given played in Mr. 
Cousen’s place for about three seasons 
and Carl Osterberg of New York 
played violin for one winter. Later, 
when its personnel consisted of Dr. 
True, Mr. Cousens and Joseph Korda, 
the name of this trio was changed to 
the Beethoven Trio. 

During the year and a half in which 
this combination played, many suc- 
cessful recitals were given. In 1914, 
when Mr. Korda went to reside in an- 
other city, Mrs. Marion Priestly Ho- 


253 


ran became the cellist of the organiza- 
tion. 

In 1903 an attempt was made to or- 
ganize a Chamber-Music Club in Port- 
land. Hermann Kotzschmar was elect- 
ed President and Dr. Latham True 
Musical Director. Among others who 
were interested in this organization 
were Albert F. Smith, who afterwards 
became director of the Evansville, In- 
diana, Conservatory of Music, piano; 
Charles C. Blanchard and Dr. Frank 
W. Searle, clarinets; Frank H. Little, 
oboe; Charles Tolman, flute; and 
Catherine Patrick, violin. But one re- 
cital by the Chamber-Music Club was 
given. 

Portland had, at one time, a stringed 
quartette composed of William True 
Cousens, first violin; Willis Carter, 
alternating with Catherine Patrick, as 
second violin; Mazie Williams, viola; 
and Charles F. Jones, violoncello. This 
quartette met for practice, but never 
gave a public performance. 

Portland stringed quartettes 
trios from I9I5 to 1928 included: 

The Mendelssohn Trio — Ruth Flanders, vio- 


linist; Marie Camara, cellist; Juanita Guptill, 
pianist; The Haydn Trio — Emily M. Eldridge, 
violinist; Elizabeth Chevalier, cellist; Zilphaetta 
E. Butterfield, pianist (later Mrs. Anna Korda 
became cellist in this trio); The Portland Trio — 


and 


Margaret Wilson Johnson, violinist; Marion 


Priestly Horan, cellist; Howard W. Clark, pian- 
ist; The MacDowell Trio — Emily Eldridge, vio- 
linist; Mildred Dugan, cellist; Esther Foss, pian- 
ist; The Philharmonic Trio— Mrs. Margaret 
Wilson Johnson, violinist; Mrs. Marion Priestly 
Horan, cellist; Lois Mills, pianist; The Brahms 
Trio — Lillian Talbot, violinist; Mildred Dugan, 
cellist; Frances Donnell, pianist; The Schubert 
Quartette —Beatrice E. Bryant, violin; Mildred 
Dugan, cello; Ruth Wilson, piano; and an un- 
named quartette, Marguerite Ogden, harpist; 
Victoria Grey, cellist; Beatrice E. Bryant, vio- 
linist; Mrs. Foster L. Haviland, pianist. 


Deane’s Orchestral Club 


Deane’s Orchestral Club of Port- 
land, organized about 1890, unique in 
that, during all the years of its exist- 


hy 


254 


MUSIC AND MUSICIANS OF MAINE 


ence as an orchestra, it never per- 
formed professionally, and that, on one 
occasion only, did it ever play at any 
place other than at the home of Mr. 
and Mrs. Frank N. Deane, its found- 
ers, has throughout its existence exert- 
ed a considerable influence among the 
instrumentalists of Portland. Three- 
fourths of its members have been pro- 
fessional performers, who have met 
Friday evenings from September to 
June in each year since its organiza- 
tion. The class of music that it has 
played has always been of high order. 
The musical library which the ensem- 
ble uses is the property of Mr. Deane 
who has collected upwards of twenty- 
five hundred classical and concert num- 
bers including three hundred and fifty 
standard overtures. 

Following is quite a complete list of 
those who from time to time have made 
up the personnel of the orchestra. The 
names marked with single asterisks 
were not living in 1928. Those marked 
with double asterisks constituted the 
membership of the organization in 
1928: 

. First violins — Willis E. Carter,** William T. 

Cousens,* Fred Given,* Blanche Cram Long- 
fellow,* Dr. George I. Geer, Roger Brunel;* 
Second violin — Charles G. Richards;* Violas — 
Frank L. Prince, Charles Manning;* Cellos — 
Dr. Harry L. Stilphen, Clarence H. Brown,* 
Frank H. Fish, Charles F. Jones, Lelia M. Deane, 
Albert Shackley;** Bass viols — Arthur W. 
Morse,* Ralph E. Knight,** John Woodbury,* 
Fred Hamilton,* Frank H. Faught; Flutes — 
Jacob N. Jacobson,* Charles H. Tolman, John 
T. Fagan;** Clarinets — Dr. Frank W. Searle,* 
Martin L. Jensen, Fred C. Corliss;** Cornets — 
Alfred T. Smith, Edwin L. Gibson, Lena R. 
Hanson, Willis E. True,** Clarence H. Rowe, 
Cecil Stilphen, Frank Ford; Trombone — Frank 
N. Deane;** Piano — Lelia M. Deane,** Leon 
V. Walker. 

Conductors from 1890 to 1928 were 
Frank I. Moore,* Henry Gifford and 
Thomas B. Peters.** 


Portland Flutist’s Society 


The Portland Flutist’s Society, as it 
existed in 1926, was composed of all 
of the professional flutists of Portland 
and three who were non-professional. 
The instrumentation consisted of con- 
cert flutes, piccolos and bass flute. Ex- 
cepting during the months of June, 
July and August, meetings were held 
each Sunday during the year. Music 
of a serious nature, especially arranged 
for the combination was studied. 

The members were: 

Fanning G. Maloney, Conductor; John T. 
Fagan, Thomas Johnson, Walter L. Josselyn, 
Harold Lawrence, James B. Norcross, Carl 
Schneider, P. J. Story, Charles H. Tolman, 
Harry T. Wall. 

It is to be regretted that this inter- 
esting organization, which gave prom- 
ise of becoming one of the most at- 
tractive musical combinations in the 
State, lasted but a year. 


Stimson’s Orchestra 


Quite a number of attempts to or- 
ganize symphony orchestras in Port- 
land subsequent to I900 were made, 
but none, to’ 1928, endured for any 
length of time. The personnel of some 
of these orchestras was composed al- 
most wholly of amateurs while that of 
others was made up largely of pro- 
fessional musicians. Most of these may 
hardly be considered to have reached 
symphonic proportions. 

F. W. Stimson’s Symphony Orches- 
tra of Portland was organized in 1913 
by Ralph W. E. Hunt and Mr. Stim- 
son. This aggregation gave a number 
of concerts successfully, during the two 
seasons that it was in existence, and 
for several years those who composed 
its membership, all professional mu- 
sicians, played under Mr. Stimson’s 
direction for the Saco Valley Festival 
Chorus. The personnel and instru- 
mentation were as follows: 


MUSIC OF THE STATE OF MAINE 1897-1928 


255 


PORTLAND MEN’S SINGING CLUB 


Left to right. Top Row — Andrew Jackson, Clarence M. French, Harold Jordan, John Hanson, H. Earle Shaw, 
Louis E. White (president); Ernest J. Hill, Rev. Vincent B. Silliman, John Oakes Burke; Third Row — Ralph 
Leighton, Lester N. Gerrish, Edwin W. Sadler, Harry L. Eustis, Harry S. Files, Stanley -S. Gerrish, James F. Macy, 
Alfred H. Tracy, John Farr, Leroy Burns, Carl Johnson; Second Row — Herbert S. Kennedy, Donald Foss, Alfred 
O. Halverson, Leroy Leonard, Philip Milliken, Luther Bonney, Richard Baker, William White, George McClung, 
Albert B. Hall, Alfred Brinkler (conductor); Front Row-— Frank Thomes, Charles Blackwell, Elmer Mangum, 
Fred Lincoln Hill, John P. Thomas, Howard Stevens, Pearce Francis, Charles Fenderson, Edwin M. Sadler, Photo 


by Tisdale, Portland, Me. 


First Violins — Percival Bodge (concert mas- 
ter), Walter Hood, Glen Harmon, Mr. Broseau, 
Mr. Simanski; Second Violins — Fred Lavine, 
Earl Woodman, Henry Gifford, Frank Prince; 
Violas — Arthur Warren, Charles Richards; 
Cellos — Woodbury P. Harrington, Louis Pola- 
kovitch; Basses — Nathaniel Blanchard, Joseph 
Cote; Flute —Patrick Story; Oboe — Frank Lit- 
tle; Clarinets — Horace E. Mills, Harry Ingra- 
ham; Bass Clarinet — Frank Rikel; Trumpets — 
Charles E. Downes, Harry Bridge; Horns — 
Jacob Havener, Louis Fickett; Trombone — 
Harry Eustace; Tympant and Drums — Howard 
M. Shaw. 


Portland Orchestral Society 


A revival of interest in a symphony 
orchestra for Portland was begun in 
the winter of 1925-26 with the organi- 
zation of the Portland Orchestral So- 
ciety in which nearly fifty young peo- 


ple, assisted by about a dozen profes- 
sional musicians, were given an op- 
portunity to study the simpler classi- 
cal overtures under the direction of 
Arthur F. Kendall, then leader of the 
Strand Theatre Orchestra. 

The good angel of this organization 
was John Morris, who generously paid 
for the rental of a suitable room in 
which the orchestra might be able to 
hold its weekly rehearsals and other- 
wise contributed to its maintenance. 

In the Spring of 1926 the personnel 
of the Portland Orchestral Society was 
as follows: 


Arthur F. Kendall, conductor; Violins — E. 
Raymond Shaw, concert master, Charles E. 
Bourke, Ila Carr, Reginald D. Connor, Chris- 


MUSIC AND MUSICIANS OF MAINE 


ALFRED BRINKLER, CONDUCTOR PORTLAND MEN’S 
SINGING CLUB, 1928. PHOTO BY KENNEDY, PORT- 
LAND. 


topher Connolly, Henry C. Cook, Mrs. Harry 
Dalton, Lincoln Draper, Mrs. Botho Felden, 
Abraham Fineberg, Earl L. Flagg, Robert F. 
Fredette, John S. Gardenier, Joseph Greenwald, 
Munroe Hamilton, Ira W. Hamilton, Mrs. Maude 
Hovey, Helen S. Beier William F. Kerr, Thelma 
Latham, Everett Lombard, Vladimir Orlows, 
Harriet F. Pease, Louis Rapoport, James C. 
Riggas, Irvin Robbins, Samuel A. Sampson, 
Ethan A. Soule, Eleanor Spear, Herman L. 
White; Violas — Prudence M. Burke, Clinton 
W. Graffam, John A. Gilmartin, Frank L. Prince; 
Violoncellos — Valeria Carignan, Mrs. F. N. 
Deane, Mildred M. Dugan, Dr. Botho Felden, 
Lillian M. Schwenke, George A. Shackley; Bass- 
es —Fred F. Hubbard, Ralph E. Knight, Mau- 
rice Wade; Flutes — Herbert G. Jones, Walter 
L. Josselyn, Harold M. Lawrence; Oboe — Frank 
H. Little; Clarinets — Percy C. Chipman, Blan- 
chard Comeau, Wendall Doherty, Mollie Jones; 
Bassoons —Harry P. Lowell, Lloyd E. Morse; 
Horns —Carl Brown, Randall Colby, Arthur 
H. Stevens, Maynard A. Young; Trumpets — 
Hyman Fineberg, James Nettleton, William 
W. Simonton: Trombones — Orville Duplessie, 
Charles Odlin, Marion L. Schwenke; Tuba — J. 
Howard Crangle; Harp— Grace M. Tibbetts; 
Timpani—Carl Liberty, Alston W. Parker; 


Percussions Brae L. Downs, Floyd Hern, 
Donald R. Parker. 


Portland Men’s Singing Club 


An organization that has brought 
no little fame to the State of Maine is 
the Portland Men’s Singing Club, or- 
ganized March 9, 1914. 

Will C. Macfarlane, Portland’s first 
municipal organist, was its first con- 
ductor. During Mr. Marfarlane’s stay 
in Portland the club appeared each 
season in the regular municipal con- 
cert course. Henry F. Merrill was its 
first President and Convers E. Leach, 
Secretary. Other officers at that time 
were: Vice President, Albert B. Hall, 
and Librarian, John Oakes Burke. 
On Mr. Macfarlane’s departure from 
the city the club was, for a short time, 
directed by Irving q Morgan, while 
he was municipal organist of Portland. 

When Edwin H. Lemare came to 
take the post of city organist he be- 
came conductor of the society and con- 
tinued to act in that capacity during 
his stay in the city. 

Since January, 1923, the club has 
sung under the direction of Alfred 
Brinkler. 

The following were the charter 
members of the Men’s Singing Club: 

First tenors —Wilfred E. Cole, Raymond 
Frank, Frank L. Gray, Carl C. Hascall, Prince 
S. Hayden, Ernest J. Hill, Frederic Kennedy, 
Herbert S. Kennedy, Jr., Frank E. Thomes, and 
Louis E. White; Second tenors — Herbert W. 
Barnard, John Oakes Burke, Kelley Cole, Arthur 
L. Douglass, Albert B. Hall, Thomas Smiley, 
Arthur W. Vickerson, Harry E. Waite, Clayton 
T. Whipple, and Joseph W. Whitney; Baritones 
— Samuel N. Barnes, Harold T. M. Colby, Rex 
W. Dodge, Harry S. Files, Malcolm W. Free- 
man, Walter I. Kennedy, Roy A. Purrington, 
Howard R. Stevens, Robert S$. Thomes, and 
Alfred H. Tracy; Basses — Dr. W. S. Coleman, 
Harry L. Eustis, Harold C. Furlong, James F 
Macy, A. Howard McRonald, Harry Merrill, 


Henry F. Merrill, Fred H. Oliver, Horace G. 
Parkman, and Charles E. Wyer. 


Fred Lincoln Hill has been the ac- 


ee a en, en ae ee ee 


MUSIC OF THE STATE OF MAINE 1897-1928 257 


companist for the club for the greater 
part of its existence. The club is sup- 
ported by sustaining memberships. As 
a tribute to its founder, the members 
early adopted Macfarlane’s musical 
setting of Katherine Lee Bates’ lovely 
poem, “America, the Beautiful,” as 
the club song and a verse has since 
been sung at the opening of every 
program given by the society. 

The Portland Men’s Singing Club 
entered into a singing contest at Quin- 
cy, Mass., in April, 1926, in which ten 
of the leading Men’s Glee Clubs of 
New England participated and there 
won the first prize which consisted of 
five hundred dollars in cash and a 
free trip to the National Meeting of 
the Associated Glee Clubs of America 
held at the Sesqui-Centennial Exposi- 
tion in Philadelphia, November, 1926. 

In Quincy they participated in a 
grand concert by all the competing 
clubs, directed by Stuart Mason. 

At the Sesqui-Centennial Exposition 
meeting a program under the direction 
of Dr. Daniel Prothero was rendered 
by a combined chorus of twenty-five 
hundred men’s voices, and while there 
the members of the club were the per- 
sonal guests of Cyrus H. K. Curtis, an 
honorary member of the club. 

In May, 1927, the Portland Men’s 
Singing Club was the host to the New 
England Federation of Men’s Glee 
Clubs when they entertained about 
five hundred men singers. A contest 
and concert were held in the Portland 
City Hall at which the Portland Men’s 
Singing Club was awarded the third 
prize. Dr. Will C. Macfarlane, the 
first conductor of the club, was the 
guest conductor of the combined cho- 
ruses. 

At the contest held by the New Eng- 
land Federation of Men’s Singing 
Clubs at Springfield, Mass., in the 
spring of 1928, the Portland Men’s 


LOUIS E. WHITE, PRESIDENT OF THE PORTLAND 
MEN’S SINGING CLUB, 1928. PHOTO BY BACHRACH, 
PORTLAND, ME. 


Singing Club was again successful in 
carrying off first honors. 

The ideals of the Portland Men’s 
Singing Club have been stated to be 
the promotion of the love of music 
written for men’s voices and the creat- 
ing of an interest in the arrangement 
of such music and presentation of the 
same, especially among those singers 
who may be able to qualify for mem- 
bership in the club. 

The officers of the organization in 


1928 were: 

President, Louis E,. White; Vice President, 
Howard R. Stevens; Treasurer, Ralph W. Leigh- 
ton; Secretary, Edwin M. Sadler; Librarian, 
Charles H. Blackwell; Conductor, Alfred Brink- 


ler. 
The members were as follows: 


First tenors — Stanley S. Gerrish, Ernest J. 
Hill, Herbert S. Kennedy, Leroy E. Leonard, 


258 MUSIC AND MUSICIANS OF MAINE 


PORTLAND POLYPHONIC SOCIETY 
Left to right. Standing — Clifford Jones, Mrs. C. R. Phinney, Charles Hudson Blackwell, Ethel G. Berry, Guy 


Kendall, Mrs. John P. Thomas, Mrs. 


James Hamlin, Earle Shaw, John P. Thomas, Alfred Brinkler (conductor) ; 


Charles K. Fenderson, Edwin Sadler, Mrs. Herbert Harrison, J. Arthur Hanson; Seated — Helen C. Ward, Mrs. 


George F. 


Frank E. Thomes, George A. Tibbetts, Louis E. 
White, William C. White; Second tenors—Rich- 
ard M. Baker, Charles H. Blackwell, Gustav W. 
Bratt, John Oakes Burke, Reginald B. Cooke, 
Donald M. Foss, Lester N. Gerrish, Albert B. 
Hall, Carl S. Johnson, Elmer R. Mangum; Bari- 
tones — Harry S. Files, Pearce J. Francis, An- 
drew Jackson, Ralph W. Leighton, Percy B. 
McCord, Edwin W. Sadler, H. Earle Shaw, 
Howard R. Stevens, John P. Thomas, Alfred H. 
Tracy; Basses —A. Hurford Crosman, H. Lin- 
wood Eustis, John Farr, Charles K. Fenderson, 
Harold C. Furlong, J. Arthur Hanson, Harold 
C. Jordan, James F. Macy, Edwin M. Sadler, 
Vincent B. Silliman; Accompanist — Fred Lin- 
coln Hill; Honorary members —Cyrus H. K. 
Curtis, Henry F. Merrill, Charles E. Wyer; 
Substitute members — Luther I. Bonney, Leroy 
M. Burns, Clarence M. French, Alfred O. Hal- 
verson, Irving W. Maxwell, George W. McClung, 
Philip I. Milliken. 


The Portland Polyphonic Society 


Among the musical societies of the 
State which have striven for the ac- 
complishment of the best in music 
there has been none with more ambi- 
tious aims than the Portland Poly- 
phonic Society which was organized in 
1922. Its work is devoted to the study 
of the highest forms of artistic music. 
Its sole purpose was stated at the time 


Gould, Mrs. Charles K. Fenderson, Mrs. Alfred Brinkler, Mrs. Earle C. Rundlette. Photo by Allen 
Hubbard. Courtesy of Portland Maine Publishing Company. 


of its organization to be for the mutual 
enjoyment of its members in singing 
songs written for five or more parts. 
The limitation of its membership was 
planned as follows: four first sopranos, 
four second sopranos, two first altos, 
two second altos, two first tenors, two 
second tenors, two baritones, three 
basses, and a pianist. 

In the choral work a richness of 
harmony which is impossible to pro- 
duce in the singing of ordinary four- 
part choruses is effected. A number 
of notable concerts have been given 
by the Portland Polyphonic Society in 
the five years of its existence. 

Alfred Brinkler, who organized the 
society, was its conductor in 1928 and 
in that year the membership included: 


First sopranos — Mrs. George F. Gould, Avis 
Lamb, Helen Ward, Madeline Winfield; Second 
sopranos — Ethel Berry, Margaret Ewing, Mrs. 
James C. Hamlen, Jr., Mrs. John P. Thomas; 
First altos —Mrs. Alfred Brinkler, Harriette 
Ohler; Second altos —Mrs. Charles K. Fender- 
son, Mrs. H. C. Harrison; First tenors — Clif- 
ford L. Jones, Elmer R. Mangum; Second tenors 
— Charles H. Blackwell, Guy P. Kendall; Bari- 
tones —H. Earle Shaw, John P. Thomas; 
Basses — Charles K. Fenderson, J. Arthur Han- 


MUSIC OF THE STATE OF MAINE 1897-1928 259 


WOMEN’S CHORAL SOCIETY 


Left to right. Top Row —Mrs. Isabel York, Yvonne Shevenell, Mrs. Florence L. Johnson, Mrs. Doris Nelson, 
Rosa_Rizzo, Mrs. Charles D, Fullerton, Mrs. Anne Neily, Mrs. Ervette Jordan, Mrs. Merle Brown, Mrs. Clarence 
E, Calden, Mrs. Edna G. Gaffney; Third Row—Mrs. Anna Parks Booker, Eloise Newcomb, Mrs. May 
McDonnell, Addie D. Emerson, Mrs. Alice G. Farley, Mrs. Marion Eastman, Mrs. Gladys §. Birnie, Mrs. Ruth 


_ Nickerson, Mrs. Marion A. Moulton, Mrs. Katherine Bonney, Mrs. William C. White; Second Row — Mrs. 


S. S. Thompson, Mrs. E. L. Wallace, Mrs. Annie Hebert, Angelina Peverada, Pearl Elliott, Mrs. Marion J. Freeman, 
Mrs, Ethel L. Mitchell, Mrs. Belle Cropley, Claire Shea, Mrs. Althea C. Wright, Mrs. Charlotte Lowell, Mrs. 
Evelyn B. Carroll; Front Row— Mrs. Florence Bremon, Mrs. A. C. Cloudman, Mrs. Susan Bonney, Mrs. James 
K. Lothrop, Mrs. Helen W. Talbot, Rupert Neily, Mrs. Muriel Millett, Margaret Strout, Mrs. Marguerite A. 


Johnson, Mrs. Maud H. Haines. Photo by Bicknell, Portland, Me. 


son, Edwin M. Sadler; Pianist — Mrs. Earl C. 
Rundlette. 

Among others who have been mem- 
bers of the Portland Polyphonic So- 
ciety are: 

Mrs. Kenneth Chadwick, Emily Chase, Mrs. 
Wallace L. Cook, Ruth Marshall, Beatrice Mc- 


Leilan, Mrs. Eugene Merrill, Mrs. Harry Nixon, 
Mrs. Harold Otis, Mrs. Chauncey Phinney, Mrs. 
Emma M. Phinney, sopranos; Mrs. C. Everett 
Boynton, Helen C. Howes, Marcia Merrill, Hen- 
rietta D. Rice, altos; William V. Bradley, Gus- 
tav W. Bratt, Walter P. Cushing, Stanley Ger- 
rish, Frank L. Gray, William McLean, Harry 
G. Mershon, tenors; Samuel N. Barnes, Harold 
Furlong, Leonard D. Marshall, Ralph Wilson, 
Charles E. Wyer, basses. 


The officers in 1928 were: 


President, Mrs. George F. Gould; Treasurer, 
Mrs. Alfred Brinkler; Secretary, H. Earle Shaw. 


The original officers of the club 
were: 
President, Charles E. Wyer; Secretary and 


Treasurer, William McLean; Librarian, Mrs. 


Alfred Brinkler. 

As late as 1928 the Portland Poly- 
phonic Society was the only chorus in 
America which offered exclusively pro- 
grams of old and modern glees and 
madrigals, written for more than four 
parts. 


Women’s Choral Society 


When Rupert Neily came to Port- 
land from New York City in 1919 he 
was amazed to find among the women 
vocalists of Portland such a wealth of 
beautiful voices, but no association for 
their development in the art of choral 
singing. The Women’s Choral Society 
was the ultimate result of his endeavor 
to give to Portland a singing organiza- 
tion which should undertake the study 
and interpretation of classical music 
for women’s voices. 


260 MUSIC AND MUSICIANS OF MAINE 


RUPERT NEILY, FOUNDER AND CONDUCTOR OF THE 
WOMEN’S CHORAL SOCIETY. PHOTO BY KENNEDY, 
PORTLAND. 


In their programs the club has pre- 
sented, with rare artistry, French, Ger- 
man, Italian and English part songs 
in the forms in which their composers 
gave them to the world of music. In 
articulation, tone, interpretation and 
musicianship, this choir attained a de- 
gree of excellence rarely equalled by 
any similar group in the State. 

The officers of the Women’s Choral 
Society in 1928 were: 

Mrs. Helen W. Talbot, President; Mrs. Marion 
Eastman, Vice President; Mrs. Maud H. Haines, 
Treasurer; Margaret Strout, Recording Secre- 
tary; Katharine Bonney, Corresponding Secre- 
tary; Mrs. Evelyn B. Carroll, Librarian. 

Among the members have been: 


Mrs. Gladys M. Bean, Mrs. Mabel Berryman, 
Mrs. Gladys S. Birnie, Mrs. Susan Bonney, Mrs. 


Katharine Bonney, Mrs. Anna Parks Booker, 
Mrs. Florence Bremon, Mrs. Merle Brown, Mrs. 
Clarence E. Calden, Mrs. Evelyn B. Carroll, 
Mary M. Carson, Florence M. Clarke, Mrs. 
George Clark, Mrs. Howard W. Clark,. Mrs. 
Gerald P. Clifford, Mrs. A. C. Cloudman, Mar- 
garet Craven, Mrs. Belle Cropley, Mrs. Delma 
K. Dresser, Mrs. Marion Eastman, Pearl Elli- 
ott, Addie D. Emerson, Margaret Ewing, Mrs. 
Alice G. Farley, Edith Farr, Mary Faulkenham, 
Mrs. Louis M. Files, Mrs. Ruth Carter Fobes, 
Dorothy Foley, Mrs. Marion J. Freeman, Mrs. 
Charles D. Fullerton, Mrs. Edna G. Gaffney, 
Mrs. Guy P. Gannett, Mrs. Maud H. Haines, 
Mrs. Annie Hebert, Mrs. Esther C. Hobbs, Mrs. 
Florence L. Johnson, Mrs. Marguerite A. John- 
son, Mrs. Ervette Jordan, Mrs. James K. Loth- 
rop, Mrs. Charlotte Lowell, Mrs. May McDon- 
nell, Mrs. Olive McDougal, Mrs. Helen Mc- 
Intyre, Mrs. Esther Menish, Mrs. Muriel Mil- 
lett, Mrs. Ethel L. Mitchell, Mrs. Celia Morse, 
Mrs. Marion A. Moulton, Mrs. Anne Neily, 
Mrs. Ruth Nickerson, Mrs. Doris Nelson, Lloy 
Page, Angelina Peverada, Mrs. G. H. Purington, 
Marion P. Randall, Mrs. Cora Ricker, Rosa 
Rizzo, Mrs. Anna L. Robbins, Mrs: Charlotte 
G. Roche, Mrs. Blanche T. Russell, Claire 
Shea, Yvonne Shevenell, Hazel Shields, Mrs. E. 
H. Snow, Mrs. Mildred Soule, Margaret Strout, 
Mrs. Frances L. Talbot, Mrs. Helen W. Talbot, 
Mrs. S. S. Thompson, Mrs. E. L. Wallace, Mar- 
tha Wasson, Mrs. Ruth Waterhouse, Mrs. Jane 
Whibley, Mrs. William C. White, Mrs. Althea 
C. Wright, Mrs. Isabel York. 


Rupert Neily was the director of 
the Women’s Choral Society from its 
inception. 


Vocal Quartettes 


Prominent among the vocal quar- 
tettes in Portland during the early 
part of this period were: 


The Mozart Quartette — Dr. Harry M. Nick- 
erson, Herbert W. Barnard, Jr., Harry F. Mer- 
rill, Frank H. Pierce; The Mendelssohn Quar- 
tette — Clementine Varney, Martha Hawes, Dr. 
Harry M. Nickerson, Millard Bowdoin; The 
Pilgrim Male Quartette — Robert Fitzgerald, 


Harold S. Tripp, Percy F. Baker, Dr. George 
B. Clark. 


Among the more recent vocal quar- 
tettes in Portland have been: 

The Harvard Quartette—Ernest J. Hill, 
Herbert S. Kennedy, Howard R. Stevens, Harry 


L. Eustis; The Temple Quartette — Everett M. 
Waterhouse, Howard R. Stevens, Joseph W. 


wel. Fea = i 


PRE ne es I Ee Per Ne 


- 


MUSIC OF THE STATE OF MAINE 1897-1928 


Whitney, Harry F. Merrill; The Knickerbocker 
Male Quartette —W. V. Bradley, Leroy Leon- 
ard, P. Byron McCord, Harold C. Furlong; 
The Cosmopolitan Quartette — John Palmer, 
Austin LaRose, William Petty, Augustus Mc- 
Donald; The Cecilia Quartette —Mrs. Jane 
Whibley, Lois Wasson, Helen Nelson, Josephine, 
Gaskins; The Ladies’ Aria Quartette — Made- 
line Welch, Margaret Wilson, Alice Parker, Ethel 
Leeman; Rita Gibson, pianist. 


Other important vocal quartettes in 
Maine have been: 


The Euterpe Quartette of Bangor —Carrie 
Hodgdon, Annie Semple, Annie Sweet, Arione 
Hurley; The Temple Quartette of Kennebunk — 
Edward Lahar, M. S. Costello, H. Lombard, H. 
Strayholm; The Harmony Four of Lewiston — 
Edward Mixer, Adelard Beaucage, Lawrence F. 
Eagan, Edward W. Conway; The Favorite Four 
Male Quartette of Rumford —W. H. Wood, J. 
A. Monteith, M. C. Wood, C. E. Freeman; The 
Warren Male Quartette of Westbrook —Mat- 
thias F. Mogan, Edmund A. Axelsen, Ernest 
Theis, Leland W. Knight; The Excelsior Quar- 
tette of Saco— Mrs. Winifred Ward, Mrs. Al- 
freda D. Chadbourne, Charles A. Chadbourne, 
Frederick A. Lord. 


This quartette which was in existence 
for more than twenty-five years was 
considered one of the best in Western 
Maine. 

The members of the Ladies’ Quar- 
tette of Guilford, sponsored by the 
Woman’s Club of that town, were, in 
1928: 

Mrs. Donna Field, Mrs. Kathleen Sibley, Mrs. 


Marcia Holmes, Florence Howes and Mrs. Ma- 
belle Edes, Director-Accompanist. 


Portland Choirs 


Maine’s sweetest voiced singers have 
always been found in the choirs of the 
churches of the State. To attempt to 
enumerate them all would be futile, 
and even to list the majority of them 
would be unprofitable, for it would in 
most instances be but a repetition of 
the names of those, accounts of whom 
have appeared in these pages in con- 
nection with the musical societies and 
musical activities of the times in which 
they lived. 


261 


In nearly every city in Maine there 
has been one or two churches where 
the music has always been an out- 
standing feature of the service, and 
among these, the First Parish Church 
of Portland has been one, to the choir 
of which all ambitious church singers 
have aspired. Charles Nolcini was its 
first organist at about the time that 
Maine became a State, as has been 
stated in an earlier chapter, and he 
was followed by Madame Ostinelli, 
who at that time had become one of 
the leading teachers of piano and or- 
gan in Portland. 

Mrs. Sarah H. Gilman was organist 
from 1832 to 1839 and in her choir for 
a part of the time were William H. 
Wood, tenor and chorister, and Charles 
Cobb, bass. 

Archie Twombley, an Englishman, 
was organist at the First Parish from 
1839 to 1840, when the choir was made 
up of Elizabeth Weeks (daughter of 
Joshua Weeks), soprano; Caroline Wil- 
liams, alto; John S. Dunlap (“land- 
lord” of the United States Hotel), 
tenor; and Charles W. Thomas, bass, 
and he was succeeded by David Paine. 
In 1841 Ireneus Solomus was organist 
there and among those who were mem- 
bers of the choir at about this time 
were Mary J. Emery, Mrs. Lendell 
Boyd, Sarah Hooper, Charlotte Isley, 
William Weeks and George A. Twitch- 
ell. 

Jennie Twitchell of Gardiner was 
alto during Dr. Stebbin’s time. 

Edward B. Robinson, who was the 
immediate predecessor of Hermann 
Kotzschmar, followed Mrs. Charles B. 
Varney as organist at the First Parish. 
Mr. Robinson, like Nolcini and Paine, 
was a dealer in musical instruments. 
Hermann Kotzschmar presided at the 
instrument from 1851 to 1898. While 
Mrs. Varney was organist, Elizabeth 
Weeks was the soprano; Susan Whit- 


262 MUSIC AND MUSICIANS OF MAINE 


ney, contralto; Henry Cushing, tenor; 
and Dr. Charles Thomas, bass. Mr. 
Cushing, though a man of otherwise 
excellent education, sang wholly by 
ear. Notes were valueless to him and 
he was obliged to spend much time in 
memorizing the tenor parts of hymns 
and anthems so that he might be able 
to sing them correctly at the services. 

“At about this time” (1845), Mr. 
Thurston writes in his Reminiscences, 
“an important change introduced Har- 
riet N. Cammett, as soprano; a young, 
but very promising singer, fresh from 
her musical studies in Boston. Her 
voice was a pure soprano of remark- 
able range; I have heard her sing 
double F in public concert. Handel’s 
roulades had no terrors for her. Her 
style had a breadth and purity seldom 
attained, and she was for many years 
undoubtedly the finest vocal artist 
Maine had produced.” 

Those who heard Miss Cammett 
(Mrs. H. M. Wetherbee) sing in the 
forties and early fifties say that her 
voice was really marvelous and that 
had she studied abroad she would 
probably have become one of the great 
sopranos of her day. 

At the time Miss Cammett was the 
soprano, Jane M. Usher, who later be- 
came the wife of Judge Nathan Webb, 
was the contralto in the choir and she 
has been described by contemporaries 
as being a wonderfully sweet-voiced 
singer. William Henry Dennett, who 
had then recently returned from his 
studies in Europe, sustained the bass 
and Samuel Thurston the tenor parts 
in the choir. Later, John L. Shaw 
succeeded Mr. Dennett as bass. When 
Miss Usher resigned her position, Mrs. 
Charles Norcross became the contral- 
to. The richness of her voice made 
Mrs. Norcross a great favorite with 
Portland audiences. 

Henrietta Rice, the next contralto, 


remained with the choir for an extend- 
ed period, and Mrs. Nettie Fellows, 
who was soprano there at that time, 
served for a number of years. 

One of the most appalling tragedies 
that ever occurred in maritime history 
was the sinking of the steamer Port- 
land, on Sunday morning, November 
27, 1898, when all on board perished. 
Not one of the one hundred and fifty 
persons aboard the vessel survived. 
In a terrible storm, one of the worst 
ever known on the Atlantic Coast, 
when near Cape Cod, about nine a.m. 
of that day, the steamer, which had 
put out from Boston at seven o’clock 
the night before, with all on board, 
disappeared forever and none will ever 
know how they perished. One of those 
who were lost was Emily L. Cobb, then 
soprano of the First Parish Church 
Choir of which she had been a mem- 
ber for several months. She was the 
only living daughter of Edward and 
Judith S. Cobb and one of the grand- 
children of Capt. George Knight, who 
for many years had followed the sea, 
which in its relentless fury claimed her 
as toll. | 

In the services on the Sunday after 
the disaster, John Carroll Perkins, 
pastor of the church in which she had 
so joyously sung, paid her this tribute: 

‘Her gift of song became the object 
of her ambition. It shaped her life to 
higher thinking, to more devoted effort 
to a wider outlook into the future, to 
new endeavor, to a broader sense of 
service in the world. There was a 
promise of great joy and worth in such 
a nature and with such a gift.” 

In 1898 there were many changes in 
the choir of the First Parish Church. 
No less than sixteen of Portland’s vo- 
calists sang the soprano parts in that 
year, and among these were: 


Edna Webb (Mrs. Latham True), Mrs. Eve- 
lyn Day White, Mrs. Charles Briggs, Mrs. Rob- 


MUSIC OF THE STATE OF MAINE 1897-1928 263 


ert T. Whitehouse, Mary Libby, Harriet Foster 
(Chadwick), Dorothea Thomes, Alice Wood, 
Eva Findley, Harriet Fassett, Georgie Bates and 
Bertha Steward. 


Organists at the First Parish Church 
after Mr. Kotzschmar’s time were: 


Henry Baker Humphrey, 1898-1901; Walter 
Smith, 1901-1912; Latham True, 1912-1921; 
Gertrude Buxton since 1921. 


The members of the choir since 1898, 
in succession, have been: 


Sopranos — Harriet Foster, Alice Wood, Ber- 
tha Steward, Emily L. Parsons, Marion Dyer, 
Ellen Blodgett; Altos — Elizabeth King, Edna 
Webb, Gertrude E. Berry; Tenors — Herbert W. 
Barnard, Jr., John Oakes Burke, Joseph Walker 
Whitney, Charles Hudson Blackwell; Basses — 
Frank H. Pierce, Walter S. Coleman, William 
Thomes and Percy B. McCord. 


Organists in some of the other prin- 
cipal churches of Portland have been: 


Cathedral of the Immaculate Conception, 
Charles Libby, George A. Quimby (40 yrs.), 
Bernadette Moreau; Central Square Baptist 
Church, Walter Smith, Mrs. Maud H. Haines; 
Chestnut Street M. E. Church, Charles O. Files, 
Latham True, Karl Lester Tower, F. L. Hill, 
Mrs. Foster L. Haviland, Mrs. Gilman Davis, 
Julia N. Gosse; Church of the Messiah, J. W. 
Woodbury, C. R. Cressey, Florence E. Chipman, 


- E. C. Farnsworth, Edgar H. Paine, F. O. Fuller- 


ton, Ethel Fullerton, Mrs. Dorothy Gustafson, 
Harry T. Pierce, George E. Sawyer; Church of 
the Sacred Heart, Emily P. Baxter, Marguerite 
Dunphy, Mary E. Murray, Josephine O’Connor 
(Mrs. James A. McFaul); Clark Memorial 
Church, H. Allister Grant, F. L. Jackson, Marion 
Johnson; Congress Square Universalist, Cornelius 
K. Hawes, George W. Marston, James Bain, 
Frank L. Rankin, Howard W. Clark; Congress 
St. M. E. Church, Esther L. Holden, Mrs. Ruth 
Knight Norton; First Baptist Church, John W. 
Woodbury, Harry T. Johnson, Richard E. Lewis, 
Esther Foss; First Free Baptist Church, Mrs. 
Arthur A. Allen, Howard W. Clark, Fred Lincoln 
Hill, C. H. Robie, C. F. Jones; Free Street Bap- 
tist Church, H. W. Locke, Mrs. George A. Libby, 
Ida May Pinkham, Gertrude Buxton; High St. 
Congregational Church, James Bain, Velma 
Willis Millay, Walter Smith; New Jerusalem 
Church, Edgar H. Paine; Park St. Presbyterian 
Church, Anna C. Willey; Pine St. M. E. Church, 
Mae F. Haskell, Harold A. Loring; Second Par- 
ish Church, Edward C. Farnsworth, Clayton 
Frank; St. Joseph’s Church, John E. Fay; St. 
Lawrence Congregational Church, William H. 


Davis, Ethel Fullerton; St. Luke’s Cathedral, 
Walter Gould, Walter H. Carter, James Wier 
Jamieson, Henry King Fitts, Alfred Brinkler; 
St. Pauls Church, Mrs. R. M. Fenton; St. 
Stephen’s Episcopal Church, Mrs. H. L. Damon, 
H. L. Ryser, Alfred Brinkler, Mrs. Hilliard D. 
Cook; State Street Congregational Church, Her- 
mann Kotzschmar, Harvey Murray, Arthur 
Hyde, Seldon T. Crafts; Trinity Chapel, Mar- 
guerite Ogden (27 yrs.); West Congregational 
Church, Eva M. Dimmock, Mrs. Evelyn Jor- 
dan, Frieda A. Hyde, Clara E. Smith; Williston 
Church, Willard C. Kimball, Fred Lincoln Hill, 
Susan G. Coffin; Woodfords Universalist Church, 
Mrs. J. C. F. Strout; Woodfords Congregational 
Church, Mrs. Iva Nutter Hodgkins; All Souls’ 
Universalist Church, Inez Blaisdell. 


Prominent among the church vocal- 
ists of Portland have been: 


Gustav Bratt, George A. Briggs, George F. 
Cary, W. F. Coffin, Fred Day, Charles K. Fen- 
derson, Louis M. Files, Pearce J. Francis, C. L. 
Fullerton, Harold C. Furlong, Stanley Gerrish, 
Andrew Jackson, George E. Laird, Leroy Leon- 
ard, William Lewis, Leonard D. Marshall, P. 
Byron McCord, William G. McLane, Howard 
McRonald, Harry F. Merrill, Elliott C. Mitchell, 
Arthur D. Morse, Hi G. Parkman, Thomas 
Smiley, William H. Souviney, Howard R. Stev- 
ens, William B. Thomes, Mabel Archibald, 
Della Ayers, Elizabeth Babb, Mrs. M. L. Baker, 
Belle Bartlett, Gertrude E. Berry, Rose Tyler 
Bird, Mrs. Gladys S. Birnie, Mrs. C. Everett 
Boynton, Mrs. Florence Bremon, Lizzie P. Briggs, 
Mrs. Arthur Bucknam, Marion Carter, Emily E. 
Chase, Mrs. Andrew C. Cloudman, Florence 
Coolidge, Martha Lufkin Coombs, Mrs. Caro- 
line F. Darker, Annie Farr, Leila Farrell, Mrs. 
Bertha King Fenderson, Mrs. Louis M. Files, 
Gertrude Flagg, Evelyn Frost, Mrs. C. L. Fuller- 
ton, Mrs. George F. Gould, Mrs. Maud H. 
Haines, Mrs. Martha Hawes Hill, Lizzie Hovey, 
Mrs. Florence Leighton Johnson, Harriette 
Knight, Ruth Merrill Knight, Mrs.George Laird, 
Mrs. William Lewis, Mrs. James K. Lothrop, 
Mrs. Mahlon H. Marston, Marcia Merrill, Mrs. 
Julia Cowan Moore, Alice B. Morrison, Harriet 
Ohler, Mrs. Elizabeth Latham Otis, Mrs.. Flor- 
ence Knight Palmer, Mrs. E. A. Randall, Marion 
Rines, Mrs. Charlotte Gunn Roche, Mrs. Flor- 
ence Seaford, Mrs. Frances Talbot, Mrs. Inez 
Perry Turner, Mrs. Jane Sterling Whibley, Mrs. 
Joseph Whitney, Mrs. Madeline Files Wilkins, 
Kate E. Wilson. 


Bishop Bacon founded an institu- 
tion of choral music when he first or- 
ganized the children of the parochial 


264 MUSIC AND MUSICIANS OF MAINE, 


schools of Portland for a St. Patrick’s 
Day concert, for since then this cele- 
bration has been an ;annual event. 
Bishop Walsh later developed the 
idea by uniting the parochial gradu- 
ates of high and grammar schools in 
general commencement programs with 
four-part choral music interspersed. 

Each year, during the episcopate of 
Bishop Walsh, on the anniversary of 
his consecration, children from the 
parochial schools of that city to the 
number of about two thousand assem- 
bled at the Cathedral of the Immacu- 
late Conception in Portland to assist at 
Holy Mass celebrated by the Bishop 
and to take part in congregational 
singing. 

This custom, established in recog- 
nition of the consecration of the ruling 
Bishop, was faithfully observed by his 
successor, Right Reverend John Greg- 
ory Murray, Bishop of Portland. 

The annual bringing together of the 
several Catholic choirs of Portland 
made for higher choral work among 
the Catholic churches and many mem- 
orable musical programs have been 
sung, notably: 

“CGounod’s Solemn Mass in E flat,” 
with organ and Festival Orchestra of 
Boston, at the Silver Jubilee of the 
Episcopacy of Right Reverend James 
Augustine Healy, June, 1900; “Gou- 


nod’s Solemn Mass in E flat,” at the 


dedication of St. Dominic’s Church, 
August 5, 1893; and “Weber's Mass in 
G” at the Golden Jubilee of the build- 
ing of the Cathedral of the Immacu- 
late Conception. 


Portland Branch, 
American Guild of Organists 
Following were the resident mem- 
bers of the Portland Branch, New 
England Chapter of the American 


Guild of Organists, in 1928: 
Alfred Brinkler, F.A.G.O., Regent, Gertrude 
L. Buxton, Howard W. Clark, John Fay, Mrs. 


Mae Ford Haviland, Fred Lincoln Hill, Secre- 
tary-Treasurer, Mrs. Harold D. Haines, Mrs. 
Margaret F. MacDonald, Velma Willis Millay, 
Annie J. O’Brion, Marguerite Ogden, Elizabeth 
M. DeWolfe, Susan Coffin; 
and the non-resident members were: 
Mrs. E. L. Howes, Brewer; Herbert A. Hurd, 
Fryeburg; Ruth Olive Roberts, Saco; Edward 
H. Wass, Brunswick; Nellie Jackson, South 
Paris. 
Former members were: 


Mabelle E. Grant, Ethel M. Fullerton, Ruth 
Knight, Mrs. Frank N. Gillise, Lillian B. Pay- 
son, Walter S. Smith, Louis S. Stevenson, Ray- 
mond Crawford, Gertrude Davis, Mrs. George 
H. Brickett, Augusta, Mrs. Harry O. Furber, 
Saco, Margaret J. Melcher, Bath, Harry Stott, 
Sanford. 


Portland Chapter of the National 
Association of Organists 

The Portland Chapter of the Na- 
tional Association of Organists was 
formed February 16, 1928. Charles 
R. Cronham, the municipal organist of 
Portland, was elected President and 
Velma Willis Millay, Secretary-Treas- 
urer. 


The chapter was organized under 
the direction of Alfred Brinkler, Maine 


President of the National Association - 


of Organists, which came into being 
in 1908 for the purpose of giving na- 
tional conventions, one of which was 
held. in Portland in 1918 and another 
in 1928. The Portland Chapter was 
the first local chapter to be formed in 
the State of Maine. 


The Kotzschmar Memorial Organ 


Can metal pipe and wooden box unloose 

Young dreams,dear memories,and sweet imaginings 
Rushing to meet in one rich mingling stream, 
Until emotion swept, the throbbing heart 

Sobs inwardly and vibrates its response? 


How can tree speak, or iron and copper sing? 
Knowthen the answer, that these questions bring! 


Console and instrument, alone, each silence seeks; 
Under the master’s fingers each pipe speaks! 
Resulting concords, forward, backward float, 
Till pipe and box each sings its separate note. 
In richest harmonies they, blending, swell, 
Sighing and crying, weaving their hallowed spell. 


én ea 


ah Mage Ine tO Path ast 


MUSIC OF THE STATE OF MAINE 1897-1928 265 


Music knows no creed or religion, 
no class distinction, no nationality. It 
gives no more enjoyment to the mil- 
lionaire than to the pauper; to the Ar- 
yan than to the Ethiopian; to the mas- 
ter than to the slave. 

Pure music is neither national nor 
international. It is universal. Whether 
in time of peace or war, it should not 
be battered about by either power or 
prejudice. 

The empire of music is imperish- 
able. Nations may fall and new na- 
tions may be born but the influence 
and the glory of music will forever live 
on, an immortal legacy from the Power 
by which it was created and bequeathed 
to all the people of the earth. It is, in 
fact, the gift of God to all men, freely 
to enjoy, each according to his own 
understanding. 

Other than the radio the two great- 
est cultural contributions of the twen- 
tieth century to humanity have been 
the establishment of free municipal 
organ recitals and orchestral concerts, 
both of which have brought to the 
great mass of people, whose opportu- 
nity for listening to the best in music 
before their introduction had been ex- 
ceedingly limited, if not prohibited, 
the wonderful privilege of hearing the 
works of the greatest music masters 
in the world, interpreted by intelligent 
performers and conductors. It has 
been said, that he who plants a tree, 
that his fellow men may be sheltered 
from the rays of the summer sun, 1s 
thrice blessed; but how many thou- 
sand times blessed will he be, who, by 
his munificence, supports a municipal 
orchestra, or gives to a city a great 
musical instrument that its people may 
have the opportunity to enjoy the best 
in music without money and without 
price! 

Through the great privilege that all 
have come to possess through these 


CYRUS H. K. CURTIS, DONOR OF THE KOTZSCHMAR 
MEMORIAL ORGAN, PORTLAND. COURTESY OF THE 
PORTLAND MAINE PUBLISHING COMPANY. 


agencies, and the radio, is being devel- 
oped in the people of the world, and 
especially in America, that faculty 
which unites in the highest form the 
power to enjoy understandingly the 
product of the intellect, the heart and 
the soul of the composer; and awakens 
in those who never felt it before that 
power of the imagination, that glow 
of the emotion in which the enjoyment 
of true music is born. 

In the City Hall in Portland may 
be found the Kotzschmar Memorial 
Organ, the gift of Cyrus Hermann 
Kotzschmar Curtis, to the people of 
Maine in memory of his father’s old 
friend, and Portland’s old music teach- 
er, Hermann Kotzschmar. This splen- 
did instrument, numbered among the 


266 MUSIC AND MUSICIANS OF MAINE 


ee  TEEEEEEEIIE ESTES 


HENRY F. MERRILL, CHAIRMAN OF THE PORTLAND 


MUSIC COMMISSION, 1912-1922. 
SON, PORTLAND. 


PHOTO BY HAN- 


great organs of the world, and which 
was in 1928 the largest municipal organ 
in America, is well-nigh perfect in 
power and beauty of tone and work- 
manship. It is, in fact, eight separate 
organs in one, the great, swell, orches- 
tral, solo, antiphonal, echo, percussion 
and pedal organs, all under the con- 
trol of a single performer. It occupies 
an area of sixty feet in width and fif- 
teen feet in depth, while its height is 
forty feet over all. 

With its one hundred and seventy- 
seven speaking stops and couplers, 
more than sixty-five hundred pipes 
controlled by the electric current that 
runs through its hundred miles of in- 
sulated copper wire, and its immense 
air chests, capable of holding a hun- 
dred people, its effect, at times, is, in- 
deed, stupendous. The remote echo 


and antiphonal organs occupy a cham- 
ber between the ceiling of the audi- 
torium and the roof of the building, 
and here are located a set of carillons, 
all operated from the four keyboard 
console on the platform. 

Under the skilful direction of the 
organist, the great organ is capable of 
reproducing varied effects ranging from 
the deep toned diapason to the deli- 
cately voiced soft stops, in fact, as a 
medium of musical expression, with its 
flute, string, reed and sonorous bass, 
marvelous effects, closely resembling 
a great symphony orchestra, may be 
created. 

The organ was built by the Austin 
Organ Company of Hartford, Con- 
necticut. Its imposing front design 
was by the eminent architects, Carrere 
and Hastings. 


JOHN T. FAGAN, CHAIRMAN OF THE PORTLAND 
MUSIC COMMISSION, 1922 AND 1923. PHOTO BY 
MANSUR, AUGUSTA. 


MUSIC OF THE STATE OF MAINE 1897-1928 267 


The Kotzschmar Memorial Organ 
was dedicated Thursday, August 22, 
1912. Will C. Macfarlane, who was 
organist and choir master of St. Thom- 
as’ Church, organist of the Temple 
Emanuel, New York City, and founder 
of the American Guild of Organists, 
played the two programs of Thursday 
afternoon and evening the opening day, 
and the Saturday afternoon program 
of August twenty-fourth. Other or- 
ganists who performed on this instru- 
ment during the three-day festival 
were R. Huntington Woodman of 
Brooklyn and Ralph Kinder of Phila- 
delphia. 

The dedication was a notable event 
in the history of music in the State of 
Maine. Cyrus H. K. Curtis, the donor 
of the organ, Mrs. Hermann Kotzsch- 


HERDERT W. BARNARD, JR., MEM. PORTLAND MUSIC 
COMMISSION, 1923-1929. PHOTO BY ROGER PAUL 
JORDAN, PORTLAND. 


WILLIAM §. LINNELL, CHAIRMAN OF THE PORT- 
LAND MUSIC COMMISSION, 1923-1928. PHOTO BY 
HANSON, PORTLAND. 


mar, widow of the musician in whose 
memory the organ was presented to 
the City of Portland, and other dis- 
tinguished people were on the plat- 
form. 

In presenting the organ, Mr. Curtis 
said: 

Mr. Mayor: 

I present to the City of Portland through you, 
this memorial to Hermann Kotzschmar, who 
for more than fifty years was preéminent in this 
city as an organist, composer and teacher, a man 
who was loved by all classes for his kindly spirit, 
his high ideals, and his devotion to music. 

He cared little or nothing for material things 
or for fame — he never sought them, but here 
is his monument —a monument to one who 
DID SOMETHING to make us better men and 
women and to appreciate that indefinable some- 
thing that is an expression of the soul. 

The City Government had ably co- 
Gperated with the donor by voting an 


268 


MUSIC AND MUSICIANS OF MAINE 


DONALD M. PAYSON, MEM. PORTLAND MUSIC COM- 
MISSION, 1922-1924 AND 1928-1930. PHOTO BY 
ROGER PAUL JORDAN, PORTLAND. 


appropriation to enlarge the City 
Building so that the instrument might 
be placed to the best advantage in the 
Concert Hall; by supplying a salary 
of a sufficient amount to attract the 
best organists in the world to the post 
of city organist; and by creating a Mu- 
sic Commission to look after choosing 
the organist, planning the concerts, and 
other matters connected with the new 
department in municipal affairs in 
Portland. ‘Thus was established, as 
the first of its kind in America, a mu- 
nicipal musical activity, recognized by 
a city government as one of its con- 
stituent departments with a commis- 
sion in charge. 


Portland has always been fortunate 
in its selection of those who have 
served on the Music Commission. 
Those who have been members since 
its creation are: 

Henry F. Merrill, Chairman (1912-1922); 
Arthur S. Bosworth (1912-1915); Convers E. 
Leach (1912-1919); Frank C. Allen (1915- 
1917); Adam P. Leighton (1919-1921); John T. 
Fagan (1920-1923), Chairman in 1922 and 1923; 
Mrs. Adam P. Leighton, Jr. (1921-1923); Don- 
ald M. Payson (1922-1924); William S. Linnell 
(since 1923) Chairman; Herbert W. Barnard, 
Jr. (since 1923); and Donald M. Payson (re- 
appointed in 1928). 

It is a long stretch of time from the 
day that blacksmith Blaisdell ham- 
mered out psalm tunes on Portland’s 
first organ in the old Second Parish 
Church on Middle Street at fifty cents 
per Sunday, to the installation of this 
great instrument, whose organist holds 
one of the highest paid offices in the 
gift of the metropolis of Maine, and 
by this comparison, may be judged the 
enormous stride that Maine has taken 
in the advancement of cultural music. 
in a century. 

The municipal organists of Portland 
have been: Will C. Macfarlane, 1912- 
1918; John Morgan, 1919-1920; Ed- 
win H. Lemare, 1920-1924; Charles 
R. Cronham, 1924-1928. 

Of Will C. Macfarlane, Mus. Doc., 
whose appointment as the first muni- 
cipal organist in America, the Port- 
land Music Commission states: 

He brought to his task not only superior abil- 
ity as a recitalist and unusual musical training 
and experience, but a peculiar personal adapta- 
bility to the work in view. By the vision which 
inspired him, his initiative and indefatigable zeal, 
his codperation with the Music Commission, and 
with various other musical organizations and 
through a personality which endeared him to all, 
Dr. Macfarlane succeeded in his years of service 
in establishing this newly born municipal enter- 
prise upon the high plane which has character- 
ized it as one of the most important functions of 
the city for its people. 

Of Edwin H. Lemare, Mus. Doc., 
who was already world famous as one 


MUSIC OF THE STATE OF MAINE 1897-1928 


of the foremost exponents of a new 
school of organ playing before he came 
to Portland, the Commission writes: 

Early recognized throughout his homeland 
England, and elsewhere abroad, as a master of 
orchestral registration upon the organ, he came 
to Portland from the position of City Organist 
at San Francisco, and immediately, and through- 
out his term of service at the console of the 
Kotzschmar Memorial Organ, stirred the people 
of Portland to wonder at the marvel of his 
technique, the unusual interpretive genius and 
gift for tonal production which were combined 
in his representations of orchestral works upon 
the organ. 

Charles Raymond Cronham, muni- 
cipal organist since 1924, of whom a 
more detailed account will be found 
in another place in this volume, came 
to Portland from the Lake Placid Club, 
Lake Placid, New York, where he had 
attained marked success as organist 
and director of music. 

Of Mr. Cronham, it has been de- 
clared that he is more than a muni- 
cipal organist, he is a recitalist of dis- 
tinction. In his program building, in 
which he excels, he has exhibited his 
ability to recognize the wide variety 
of musical tastes, and with rare nicety 
of preception, he has met the exac- 
tions of the most discriminating lovers 
of the classics in music by his skilled 
interpretation of the masters, while, 
“without sacrificing the dignity of the 
instrument, he answers the appeal of 
the lover of more modern compositions 
with refreshing originality and inter- 
pretive phrasing.” Under his com- 
mand, many new beauties in the great 
instrument which the people of Maine 
and visitors from other states have 
come to admire and enjoy, have been 
discovered. 

The Portland Music Commission 
has always conceived it as its duty to 
every resident of Portland, and all vis- 
itors to the city, to place before them 
the opportunity to hear the music of 
the great composers interpreted by a 


WILL C. MACFARLANE, FIRST MUNICIPAL ORGANIST 
OF PORTLAND. PHOTO BY KENNEDY, PORTLAND, 
MAINE, 


master of the King of Instruments, 
and to encourage musical activity 
along other lines. 

The daily recitals throughout the 
summer months, the weekly Sunday 
afternoon concerts during the winter 
and an occasional evening concert with 
assisting artists of note from other 
cities, the production of great choral 
works under skilled directors, and the 
encouragement of orchestral ensemble 
are among the educational features 
sponsored by the Music Commission. 

The City of Portland, through its 
Music Commission, in truth, has 
opened the door and extended to all 
an invitation to freely enter and “re- 
cieve the stimulus, the inspiration, the 
peace and benediction or merely the 


270 MUSIC AND MUSICIANS 


EE EEEEE EEE 


eh ese tr E- 5 
en geeerre® 


OF MAINE 


CHARLES RAYMOND CRONHAM, MUNICIPAL ORGANIST OF PORTLAND, AT THE CONSOLE OF THE 


KOTZSCHMAR MEMORIAL ORGAN. 
enjoyment of good music,” according 
to the needs or desires of those who go 
to listen. 

Between forty and fifty thousand 
people have attended the free Sunday 
Concerts in the Portland City Hall 
each year since the installation of the or- 
gan, and audiences have not infrequent- 
ly numbered four thousand people. 

The music of the Kotzschmar Organ 
in Portland, Maine, has brought joy 
and happiness to the thousands of mu- 
sic lovers who have gathered from 
every part of the world to hear its 
beautiful tones; and in many a heart 
of those, whose good fortune it is to 
live within the sound of the bell in 
the City Hall Tower, and in the sha- 


PHOTO BY MARSHALL, PORTLAND. 


dow of its gilded vane, dwells a sincere 
affection for the man, who, through 
his love for Portland and her old Mu- 
sic Master, was impelled to make such 
a princely gift to the people of his 
native city. 


Portland Municipal Orchestra 


With the passing of the Portland 
Orchestral Society in the fall of 1926 
the work of organizing a permanent 
symphony orchestra for Portland was 
undertaken by the Portland Music 
Commission, and in February, 1927, 
sixty-five players, among whom were 
some of those who had belonged to the 
Portland Orchestral Society and fif- 
teen of whom were experienced mu- 
sicians, a new symphony orchestra to 


MUSIC OF THE STATE OF MAINE 1897-1928 271 


PORTLAND MUNICIPAL ORCHESTRA (82 PLAYERS); SEASON 1927-1928. CHARLES RAYMOND CRONHAM, 


CONDUCTOR, AND THE KOTZSCHMAR MEMORIAL ORGAN. 


be known as the Portland Municipal 
Orchestra was organized, with Charles 
Raymond Cronham, municipal organ- 
ist, aS conductor. 

The first concert by the new organi- 
zation was given in Bridgton, Maine, 
in May, 1927, and this was immediate- 
ly followed by its first appearance in 
Portland. Music of a much more diffi- 
cult nature than any previously under- 
taken was studied in its second year 
and at its January concert in 1928 the 
Portland Municipal Orchestra gave a 
concert that would have done credit 
to a much more mature organization. 
This concert was repeated a week later 
at Bowdoin College. Transportation 
of the entire orchestra and instruments 
including two pianos was furnished by 
public spirited citizens. 


PHOTO BY MARSHALL, PORTLAND. 


In this year the personnel of the or- 
chestra consisted of eighty-two play- 
ers, which represented every instru- 
ment required in a major symphony 
orchestra. 

The programs played by the orches- 
tra in its second year gave every prom- 
ise that here was founded an institu- 
tion that must eventually come to rank 
high among the amateur symphony 
orchestras in the country. Composed 
of men and women representing twen- 
ty professions and lines of business 
and boys and girls, the youngest of 
whom was but fourteen years old, all 
of whom played for the sheer love of 
it, it offers one of the finest examples 
of community interest and community 
participation in the history of orches- 
tral music. 


272 


Following was the personnel of the 
Portland Municipal Orchestra in 1928: 


Conductor, Charles Raymond Cronham; First 
Violins — Emil Hybert, concert master, Harry 
Bacon, Samuel Blumenthal, Christine Bye, Ila 
Carr,* Henry Cook, Arthur Erickson,* Eliza- 
beth Harriman, Robert Lane, Angelo Lekouses, 
Hazel Perkins, Hilda Richardson,* Sarah Silver- 
man, Ethan Soule, Edward Tolan; Second Vio- 
lins — Lewis Brown, Vernon Brown, Odele Bye, 
Reginald Connor, John Gardinier,* Russell Har- 
rington, Benjamin Haskell, Roland Humphrey, 
Maurice Levinsky, John Munro, Priscilla Pen- 
nell, Joseph Peno, Irvin Robbins, Joseph San- 
tosky, Gladys Winn; Violas — Rose Fineberg, 
Clinton Graffam,* Jane Kennedy, Phyllis Knight, 
Thelma Latham, Everett Lombard, Frank 
Prince;* Violoncellos — Aldana Brooks,* Elea- 
nore Bye, Valeria Carignan, Mildred Dugan, 
Katherine Hatch,* Merrill Hay, Reta Pates, 
Harold Putnam, Lillian Schwenke; Basses — 
Paul Drossel, Samuel Guimond, Fred Hubbard, 
Ralph Knight,* Howard Sawyer; Piccolo — 
Thomas Johnson; Oboe — Frank Little; Clari- 
nets — Hurford Crosman, Mollie Jones,* Mau- 
rice Lane, Joseph Russo; Flutes — ‘Thomas John- 
son, Harold Lawrence,* Charles Tolman; Bas- 
soons — Harry Lowell, Lloyd Morse; Horns — 
Randall Colby, Arthur Stevens, Maynard Young; 
Trumpets — Paul McIntire, James Nettleton, 
Clarence Row, William Vacchiano; Trombones— 
Albert Conant, Bernard Greely, Charles Moore, 
David Rubinoff; Tuba — Howard Crangle; Tym- 
pani — Fred Ward; Percussion — Samuel Fine- 
berg,* Clifford Leeman; Harp — Grace Tibbetts; 
Organ — Howard Clark. 


The Portland Municipal Ensemble, 
composed of the twelve members of 
the orchestra whose names are marked 
with an asterisk and Zilphaetta But- 
terfield and Louis Sirois, pianists, made 
its initial bow to Portland audiences 
at the orchestral concert given in Jan- 
uary, 1928, when they performed Saint 
Saéns’ Zodlogical Fantasy, “The Car- 
nival of Animals.” 

In 1928 the Advisory Committee of 
the Portland Municipal Orchestra con- 
sisted of Clinton W. Graffam, Hurford 
Crosman, Henry Cook and Fred Ward. 

Robert Lane was Secretary; Her- 
bert W. Barnard, Treasurer; and Ber- 


MUSIC AND MUSICIANS OF MAINE 


nard Cole, Librarian of the organiza- 
tion. 


The Kotzschmar Club of Portland 


Perhaps no Maine organization has 
done more to cultivate and maintain 
an interest in legitimate music than 
the Kotzschmar Club of Portland. The 
society’s birthday, as recognized by its 
members, occurred on February 8, 
1900, though its real beginning may 
be said to have been initiated on Jan- 
tary 11 of that year, when, by a 
strange circumstance, a group of men 
who were to constitute the original 
thirteen members of an organization, 
that was to become one of Maine’s 
most noted men’s musical associations, 
gathered in a studio in a building that 
had been erected on the very site of 
the old Libby mansion, which forty- 
three years before had been the birth- 
place of her most famous’ women’s 
musical society, the Portland Rossini 


Club. 


The musicians to whom the Kotzsch- 
mar Club is indebted for its beginning 
were Hermann Kotzschmar, organist 
at the State Street Church; Henry B. 
Humphrey, organist at the First Parish 
Church; Walter Carter, organist at St. 


~ Luke’s Cathedral; Willard C. Kimball, 


organist at the Williston Church; 
Charles R. Cressey, organist at the 
Church of the Messiah; Latham True, 
organist at the Chestnut Street Church; 
Dr. Harry M. Nickerson of the Wil- 
liston Church Choir; John Oakes Burke 
and Dr. Walter S$. Coleman, members 
of the First Parish Choir; Albert F. 
Smith, teacher of piano; O. Stewart 
Taylor and Frank A. Bowdoin, vocal 
teachers; and Charles C. Blanchard, 
clarinettist. 

On January 18 the first officers of 
the Kotzschmar Club were nominated 
as follows: 


MUSIC OF THE STATE OF MAINE 1897-1928 273 


Hermann Kotzschmar, President; Latham 
True, Vice President; Dr. Harry M. Nickerson, 
Secretary; John Oakes Burke, Treasurer; and 
Charles E. Wyer, Frank A. Bowdoin, and Albert 
F. Smith, Directors. 

At this meeting William H. Davis, 
organist at the St. Lawrence Church; 
Edgar Houghton Paine, organist at 
the New Jerusalem Church; Dr. Fred- 
erick A. Clarke, formerly organist at 
one of the leading churches in San 
Francisco; Dr. Charles O. Files, for 
many years organist at the Chestnut 
Street Church; Frank W. Searle, clari- 
nettist; Benjamin G. Ward, Charles E. 
Wyer, Charles S. Carleton, Charles S. 
Briggs and Alden O. Blanchard, vocal- 
ists; together with the thirteen who 
were present at the preceding meeting, 
became charter members of the 
Kotzschmar Club. 

The essay, has from its beginning, 
been the chief feature of the club and 
the reason for its existence. Around it, 
its programs have been built, and 
through it, the serious study of mu- 
sical subjects have been undertaken. 
These have for the most part taken 
the form of critiques, disquisitions, re- 
views, theses and treatises and have 
included papers on technical, philo- 
sophical, critical, biographical and his- 
torical subjects. 

Many have come and many have 
gone in the more than a quarter of a 
century of the club’s life and among 
them have been numbered some of 
the best musicians of Portland. 

The officers of the Kotzschmar Club 
(1927-1928) were: 

President, Edgar Houghton Paine; Vice Pres- 
ident, Fred Lincoln Hill; Secretary, George W. 
Pennell; Treasurer, Harold V. Kemball; Direc- 
tors, Howard W. Clark, H. Earle Shaw, Alfred 
Brinkler. 

Other members of the Kotzschmar 
Club in 1928 were: 


Frank Forrestall Adams, Hudson Blackwell, 
William V. Bradley, Alfred Brinkler, John Oakes 


- Burke, Reginald B. Cooke, Ph.D., Dr. F. A. 


Clarke, Charles R. Cressey, Charles R. Cronham, 
John E. Fay, Charles K. Fenderson, Harold C. 
Furlong, Clinton W. Graffam, Ralph W. E. 
Hunt, J. Arthur Hanson, F. L. Jackson, Harry 
T. Johnson, Leonard D. Marshall, Elmer R. 
Mangum, James B. Norcross, William W. Simon- 
ton, Louis Sirois, John P.. Thomas, Sinclair A. 
Thompson, Benjamin G. Ward. 


Among former members were num- 


bered: 


Raymond A. Crawford, Dr. Charles O. Files, 
Harry S. Files, Pearce J. Francis, Dr. Botho 
Felden, James K. Lothrop, George W. Pennell 
and Charles E. Wyer. 


Howard W. Clark was elected Pres- 
ident of the Kotzschmar Club for the 
year 1928-1929. 


The MacDowell Club of Portland 
The MacDowell Club of Portland, 


Maine, was organized in November, 
1908, with a membership of fourteen. 
Its aim was to give encouragement to 
musicians lacking in self confidence. 
It was at first planned to. have its 
membership limited to twenty, but as 
the club grew the limit was. increased 
to forty and in 1928 it numbered forty- 
one. 

The first officers of the club were: 

President, Gertrude E. Berry; Vice President, 
Clara Pancoast; Treasurer, Mrs. George W. Pen- 
nell; Secretary, Florence H. Libby. 

Past presidents of the club have 
been: 

Gertrude E. Berry, Dorothea Thomes, Flor- 
ence H. Libby, Mrs. Latham True, Annie G. 
Weeks, and Ethel Berry. 

Mrs. George F. Gould was President 
in 1928 and the other officers were, 
Mrs. Samuel §. Thompson, Vice Pres- 
ident; Florence Coffey, ‘Treasurer; 
Leah Comeau, Secretary. 

The following were active members 
in 1928: 

Vocalists — Ethel Berry, Gertrude E. Berry, 
Mrs. Evelyn B. Carroll, Alice Cutter, Margaret 


Ewing, Irene Eagles, Mrs. George F. Gould, 
Mrs. Herbert C. Harrison, Cora Letteney, Avis 


274 


MUSIC AND MUSICIANS OF MAINE 


MRS. GEORGE F. GOULD, PRESIDENT OF THE MAC- 
DOWELL CLUB, PORTLAND, 1928. PHOTO BY KEN- 
NEDY, PORTLAND. 


Lamb, Mrs. Walter W. Morong, Mrs. Floyd H. 
Richards, Mrs. Charlotte G. Roche, Mrs. Sam- 
uel S. Thompson, Helen Ward; Pianists—Louise 
H. Armstrong, Mrs. Anna Carey Bock, Arlene 
Burnham, Florence Coffey, Susan Coffin, Leah 
Comeau, Frances Donnell, Ethel Fullerton, Flor- 
ence Libby, Ruth Lynn, Yvonne Montpelier, 
Mrs. Leah Peterson, Mrs. Alice Waterman, Ne- 
rissa Purington; Stringed Instruments — Sara 
Silverman, Lillian Talbot, violinists; Mrs. Anna 
M. Korda, cellist; Grace Tibbetts, harp. 


Privileged members were: 


Mrs. C. E. Bremon, Zilphaetta Butterfield, 
Emily Chase, Mrs.Caroline Darker, Mrs. Chaun- 
cey Phinney, Mrs. Irving Rich, Esther Foss, 
Agnes Keating. 


Among others who have been mem- 
bers of the MacDowell Club were: 


Ellen Blodgett, Emily Eldridge, Mrs. Harold 
D. Johnson, Mrs. Laura E. Ross, and Mrs. 
Clarice M, Smith. 


The MacDowell Club was the first 
to sponsor a Junior Musical Club in 
Portland. Its original protege was 
the Clifford Boys’ Music Club of the 
Nathan Clifford School, organized for 
the purpose of promoting serious study 
among the young students of that 
school. 


The Marston Club, Portland 
The Marston Club of Portland, 


which takes its name from Portland’s 
old music master and composer, George 
W. Marston, was organized as a pri- 
vate musical club for women in 1887 
by Mrs. Charles Bedlow, who was its 
first President. 

Its charter members were: 

Mrs. Ella Rolfe Allen, Mrs. Charles Bedlow, 


Mrs. Fred Dyer, Mrs. Charles Haskell, Mrs. 
Walter S. Smith and Mrs, Albert S. Woodman. 


The officers of the Marston Club in 
1928 were: 


President, Florence M. Coffey; Vice President, 
Mrs. Anna Carey Bock; Secretary, Mrs. Gladys 
L. Calden; Treasurer, Mrs. Edna G. Gaffney; 
Chairman of Music Committee, Elizabeth M. 
Brown. 


The active members in this year 
were: 


Mrs. Arthur H. Bailey, Mabel Berryman, Mrs. 
Anna Carey Bock, Mrs. Anna Parks Booker, 
Mrs. Florence Bremon, Elizabeth M. Brown, 
Arlene Burnham, Mrs. Clarence E. Calden, Mrs. 
Gerald P. Clifford, Florence M. Coffey, Leah 
Comeau, Alice J. Cushing, Eleanor A. Donlan, 
Ocey Downs, Mrs. Edna G. Gaffney, Mrs. Jane 
Phinney Harlow, Veronica Hebert, Prudence 
Hennigar, Mrs. Joseph B. Kahill, Mrs. William 
W. Kimball, Mrs. Anna Korda, Ruth Lynn, 
Hazel Perkins, Mrs. Leah T. Peterson, Nerissa 
Purington, Marion Ratcliffe, Sara Silverman, 


Mrs. Grace G. Simonton, Virginia Sweetser, 
Florence Towle, Mrs. William C. White. 


Mrs. Emma J. Dyer and Gertrude 
Flagg were privileged members. 

Among those who were formerly 
connected with the club for one season 
or longer were: 


Mrs. George Akers, Ella Rolfe ie Doris 
Amick, Mrs. Charles E, Baker, Mrs. Ella Bean. 


MUSIC OF THE STATE OF MAINE 1897-1928 275 


Mrs. Charles Bedlow, Mrs. Charles L. Beecher, 
Ethel Berry, Minnie Emory Clark, Elvira J. 
Caswell, Mrs. Warren W. Cole, Mrs. Margaret 
Cloudman, Mrs. George Duncan, Mrs. Fred 
Dyer, Mrs. Nellie King Doten, Mrs. Helen El- 
well, Helen Foster, Mabel Foster, Eva Findley, 
Olive G. Flagg, Viola DeGrys, Mrs. Henry Gil- 
man, Mrs. Florence Gardiner, Marguerite Gir- 
ouard, Alice Goudy, Mrs. Mary Thompson 
Green, Mrs. Charles Haskell, Mrs. Frank Has- 
kell, Alice T. Homer, Marion Priestly Horan, 
Emily Hamilton,,Grace Harding, Marion Jor- 
dan, Belle Jordan, Annie Hamilton Johnson, 
Mrs. James Kelly, Agnes Keating, Hester Lam- 
son, Ethel Leeman, Irene Leeman, Edith Lowell, 
Hattie Mulnix, May Manning, Yvonne Mont- 
pelier, Helen C. Morrison, Mae Chenery Morrill, 
Mrs. Walter Morong, Mrs. Frank Morton, Nel- 
lie B. McGregor, Mrs. David Gray Miller, Mrs. 
D. J. MacDonald, Beatrice Orr, Catherine Pat- 
rick, Mrs. Mabel Pennell, Bernice Preston, Har- 
riet Louise Pike, Mrs. James F. Perkins, Mrs. 
Harry Seaford, Mrs. Daniel Sheehan, Mrs. Wil- 
liam Simonton, Mrs. Celia Smart, Augusta Schu- 
macher, Mrs. Walter Smith, Mrs. Gertrude Tarl- 
ing, Mrs. Marion Theis, Mrs. Ella W. True, Mrs. 
Luella C. True, Mrs. Harry Turner, Ida King 
Tarbox, Martha Vose, Theresa Whittemore, Mrs. 
Burton C. Witham. 


Among the past presidents of the 
Marston Club have been: 

Mrs. Ella Rolfe Allen, Mrs. Florence Bremon, 
Elizabeth Brown, Elvira Caswell, Mrs. Mar- 
garet Cloudman, Mrs. Viola DeGrys, Mrs. Fred 
Dyer, Mrs. Henry Gilman, Mrs. Charles Has- 
kell, Mrs. Ethel Lanterman, Mrs. George W. 
Pennell, Mrs. Laura E. Ross, Mrs. Walter Smith, 
Mrs. Luella True, Mrs. George Way and Mrs. 
Albert Woodman. 


Anna Carey Bock was President of the 
Marston Club for the year 1928-1929. 


Augusta may well cherish a justifi- 
able pride in the music which has al- 
ways been heard in its churches. As 
each of the various denominations 
came to sufficient strength in numbers 
and financial standing to erect and 
maintain a place of worship, an organ 
was installed and singers of promi- 
nence engaged. In the list of those 
who carried on this work are found 
the names of Mrs. William K. Wes- 
ton, Sarah Eveleth, Daniel Stanwood, 


Eo 


MRS. CHARLES BEDLOW, FOUNDER AND FIRST PRES- 
IDENT OF THE MARSTON CLUB, 1887, FROM A 
PHOTOGRAPH MADE ABOUT THIRTY-FIVE YEARS 
LATER. 


Melville C. Milliken, John D. Myrick 
and Mrs. Myrick, Mrs. Emily Pitts 
Chase, Helen Cushing, Lizzie Cushing, 
Charles Johnson and Mrs. Fanny 
Baker Milliken. 

For a number of years there was no 
regular musical organization in Augus- 
ta, but singing schools were held where 
excellent instruction was given and the 
books used in those schools indicate 
that the music sung tended toward a 
decidedly classic type. One of the best 
known of these old singing schools was 
led by Josiah Bangs. 

St. Mark’s Episcopal Church has, in 
its organists, given much to the ad- 
vancement of good music. One of the 
most brilliant musicians to occupy an 
organist’s post in Augusta was Fred- 
eric Clarendon V. Hyde of Durhan, 
England, who went to Augusta about 
1884. His work as organist, choir 
master and teacher was of a superior 


276 MUSIC AND MUSICIANS OF MAINE 


quality and his exceptional talent was 
recognized by musicians throughout 
the State. 

Among the later organists in the 
churches of Augusta have been: — 


Mrs. Guy Dow, Cecilia Fortier, Lila B. Friend, 
Harrison C. Lyseth, Mrs. Charles Perkins, S. W. 
Purinton, Mrs. Mildred W. Weston. 


Choral Art Society, Augusta 


In 1904 Edward H. Wass became 
organist at St. Mark’s Church, Augus- 
ta, and his stay was one of enrichment 
to the City’s musical life. He formed 
the Choral Art Society, an organiza- 
tion which, for several years, present- 
ed recitals of more than usual merit. 
These concerts were given in St. Mark’s 
and the repertory of the society was 
selected mainly from the masterpieces 
(a cappella) of the sixteenth, seven- 
teenth and eighteenth centuries and 
from modern works which demanded 
a small chorus. The activities of the 
Augusta Choral Art Society ceased 
soon after Mr. Wass left Augusta in 
1912 to take up his duties as professor 
of music at Bowdoin College. 

The first officers of the Choral Art 
Society of Augusta were: 


President, Albert W. Brooks; Vice President, 
Harry P. Lowell; Corresponding Secretary, Hel- 
en G. Child; Recording Secretary, Mrs. F. E. 
Smith; Treasurer, F. B. Purinton; Directors, 
Edward H. Wass, H. T. Elmore, Frank Dyer, 
Mrs. O. C. S. Davies; Conductor, Edward H. 
Wass; Accompanist, Mrs. G. H. Brickett; Li- 
brarian, H. T. Elmore. 


Cecilia Club, Augusta 


The music club which most nearly 
attained permanence in the city life of 
Augusta was the Cecilia Club which 
was organized in the early eighties. 
Unfortunately the records of the club 
were lost, and as the society never 
published a year book, very little in- 
formation concerning the early history 
of this successful women’s organiza- 


tion, which meant so much to the mu- 
sical life of Augusta, is available. 

Recitals by members of the club were 
regularly given until 1927 and these 
were supplemented by concerts at 
which prominent New York and Bos- 
ton artists appeared. The Wednesday 
morning recitals by the Cecilia Club 
were among the pleasantest social 
events each season and the same high 
standards set by the founders of the 
club were consistently adhered to from 
its beginning. 

Numbered among its members were 
women representing the culture and 
wealth of the Capital City. Mrs. 
Pauline Myrick was the organizer and 
the first president of the Cecilia Club. 

No meetings of the club were held 
in*1927, but as the club had not offi- 
cially disbanded, the officers in 1928 
were those who had been last elected. 
These were as follows: 

President, Caroline Fenno Chase; Vice Presi- 
dent, Mrs. Charles S. Browne; Secretary, Mrs. 
R. H. Bodwell; Treasurer, Mrs. J. W. Taylor. 

Its membership was constituted as 
follows: 

Active members, Mrs. Charles Brown, Mrs. 
E. C. Burleigh, Mrs. R. H. Bodwell, Mrs. H. E. 
Bowditch, Carrie Bradford, Marguerite Brooks, 
Miriam Best, Dr. M. E. Coughlin, Caroline 
Chase, Mrs. D. H. Fenn, Mrs. Lester B. How- 
ard, Florence Moody, Mrs. W. L. MacDonald, 
Mrs. Arthur Minchin, Mrs. Horace Ingraham, 
Deborah Ingraham, Mrs. H. T. Elmore, Mrs. 
W. H. Kenworthy, Mrs. Antonio Landry, Mrs. 
E. S. LaBar, Mr. Robert Niverson, Mrs. Charles 
Pettingill, Mrs. Robert Partridge, Mrs. Harry 
Pierce, Mrs. Solon Purinton, Mrs. Horace Stur- 
gis, Mrs. M. E. Sawtelle, Mrs. Frank Southard, 
Mrs. Ralph Smith, Mrs. Thomas Smith, Mrs. 


Joseph Taylor, Mrs. Harry Thompson, Irene 
Tetreault and Lucy Titcomb. 


Augusta Symphony Orchestra 


An interesting step forward in the 
history of Augusta’s music was made 
in 1920 with the founding of what 
came to be known as the Augusta 
Symphony Orchestra which had its 


OO ee 


a 


a eee ee ee a ee 


LE a SS ee 


MUSIC OF THE STATE OF MAINE 1897-1928 


277 


beginning at a meeting of a few mu- 
sicians at the home of Ernest R. Hill 
on the evening of October 30, 1920. A 
week later about forty musicians met 
in Union Hall, :definitely organized 
themselves, named a committee to 
draw up a constitution and by-laws 
and appointed Mr. Hill conductor. An 
invitation was extended to all inter- 
ested musicians to join the orchestra 
meetings for practice and the first 
public rehearsal was given January 
30, 1921. The first officers of the 
Augusta Symphony Orchestra were: 


F. Trial, President; J. Paquin and Miss M. 
Ramsdell, Vice Presidents; Miss B. Merrill, Sec- 
retary and Treasurer; E. R. Shaw, Concert 
Master; E. R. Hill, Musical Director. 


The officers of the Augusta Sym- 
phony Orchestra for the year 1926, 
the last active year of this organiza- 
tion, were: 


W. J. Beauchaine, President; Mrs. E. R. Hill, 
First Vice President; James L. Bates, Second 
Vice President; Edith Newman, Secretary; 
Dwight Higgins, Treasurer; R. E. Beane, E. R. 
Hill, A. E. Wood, Mrs. Thomas Cony, W. P. 
Berry, Executive Board. 


The personnel of the orchestra was 
then as follows: 


Conductor, Ernest R. Hill; Violins — Robert 
E. Beane, William J. Beauchaine, Elizabeth 
Cony, Flora Guilfoil, Irene C. Tetreault, Martin 
Lambert, Earl Peaslee, Frances O. Higgins, Mar- 
tin B. Fox, Robert Ripley, Grace E. Gilcrease, 
Elizabeth White, Harold L. Jones, Harley F. 
Sawin, Cecil McGray, Alfred Plante, Samuel 
Slosberg, Joseph Hamel, Warren R. Martin, Mrs. 
J. Plante, Elwood L. Bean and Harold Fried- 
man; Violoncellos — Ernest C. Hilton, Marion 
E. Hill, Richard Higgins, Mabel E. Berry, Aaron 
B. Ripley; Contrabasses — Alfred E. Eastman, 
James L. Bates, Edwin J. Lyons; Flutes — Wal- 
lace P. Berry, Carl Schneider; Clarinets — Jo- 
seph Plante, James Hanson, Emil Couture; Oboe 
— Allen E. Wood; Trumpets — Mae L. Dear- 
born, Warren Keith, Selden Jones; Horns — 
Edith L. Newman, Robert Kirk; Trombones — 
Waldo I. Guild, Alfred J. Lacasse, Ernest D. 
Hill, Eddie Lambert, Joe Moore; Cymbals — 
Mrs. L. B. Howard; Percussion — Arthur Dorey; 
Tympani — George E. Moore. 


CAROLINE FENNO CHASE, PRESIDENT OF THE CE- 


CILIA CLUB OF AUGUSTA, 1928. 
ARD, AUGUSTA. 


Gounod Club, Bangor 


The Gounod Club of Bangor, a cho- 
ral society organized in 1896 at the 
suggestion of C. J. Marshall, had a 
limited membership of forty. 

The first officers were: 

President, S. H. Boardman; Vice President, 
J. M. Bright; Treasurer, W. A. Palmer; Secre- 
tary, H. W. Libby; Librarian, Harry Pote; Mu- 
sic Committee, Abbie N. Garland, Mrs. C. E. 
Tilton, Joseph Emerson, F. A. Edwards and C. 
J. Marshall. 

Mr. Marshall, who had come to 
Bangor at about that time, was the 
possessor of an excellent baritone 
voice. He was the director of the so- 
ciety and while in Bangor was con- 
nected with the Central Church Choir. 

At the first concert, at which Gou- 
nod’s “Gallia” was sung, Frances Ma- 


PHOTO BY HOW- 


278 MUSIC AND MUSICIANS OF MAINE 


son and Mrs. W. A. Nelson were the 
principal soloists and Harry Libby, 
who made his debut as baritone solo- 
ist at this concert, became one of the 
favorite singers of Bangor. 

The Gounod Club was organized at 
a time when there was no other large 
musical society in Bangor. It is be- 
lieved that had it not been limited in 
its membership it would have been a 
successful club, but it was not large 
enough to be effective and many who 
desired to join it were not able to do 
so because of this unfortunate restric- 
tion. The club lasted hardly a year. 
Its second and last concert was given 
April 14, in the year in which it was 
organized. 


Mendelssohn Club, Bangor 


Following the proposal of Professor 
Karl Pomeroy Harrington of the Uni- 
versity of Maine, who saw in the abun- 
dance of women’s voices in Bangor 
and vicinity an opportunity for the 
development of a women’s chorus, the 
Mendelssohn Club of Bangor was or- 
ganized in the fall of 1902. The offi- 
cers of the Mendelssohn Club through- 
out its brief existence were: 

President, Mrs. E. T. Wasgatt; Secretary, 
Emily Merrill; Treasurer, Mrs. J. H. Eldridge; 
Musical Director, Karl P. Harrington; Accom- 
panist, Mae Silsby. 

Something over sixty, with voices 
well distributed over the four parts, 
were enrolled as members. 

During the three years of the life of 
the club it gave two concerts annually 
in the City Hall, Bangor. Besides 
these regular appearances it sang with 
the Bangor Symphony Orchestra at 
one of its concerts. 

The works given during these years 
included motets by Mendelssohn and 
other works by its patron saint; can- 
tatas by Brewer, Bartlett, and others; 
Smart’s “King Rene’s Daughter”; Per- 
golesi’s “Stabat Mater,” and many 


part songs and arrangements of the 
best type for women’s voices. The 
club was assisted in its various con- 
certs by New York, Boston and local 
artists. 

The work of the club was accorded 
warm admiration and high commen- 
dation by the critics and the society 
was recognized as an important addi- 
tion to the musical organizations of 
Eastern Maine. 

When Professor Harrington moved 
from Maine the activities of the Men- 
delssohn Club, which was unsuccess- 
ful in finding another to take up the 
burden of directing its work, came to 
an end. 

The following were members of the 
Mendelssohn Club of Bangor in the 
season Of 1903-1904: 

First Sopranos —Mrs. Tabor Bailey, Mary 
Winslow Bartlett, Annie Bass, Mrs. N. E. Bragg, 
Mrs. W. E. Cobb, Grace Colburn, Mrs. Helen A. 
Currier, Faustina Curtis, Mrs. F. H. Damon, 
Mrs. Fred Dority, Sophie Dunton, Mrs. R. H. 
Elms, Mabel Hanson, Mrs. J. H. Kane, Mrs. 
A. W. Lowe, Mrs. C. L. McCurdy, Emily Mer- 
rill, Mrs. W. L. Miller, Mrs. F. C. Ridley, Mrs. 
F. M. Simpson, Mrs. A. B. Taylor, Josephine 
Wiggin, Mrs. T. P. Wormwood; Second Sopranos 
—Mrs. G. M. Brown, Elizabeth Currier, Mrs. 
J. H. Eldridge, Mrs. G. M. Gowell, Mrs. A. E. 
Ogier, Velma Rogers, Mrs. W. McC. Sawyer, 
Mrs. E. E. Snow, Mrs. J. S. Stevens; First Altos 
—Bessie Bailey, Sadie Catell, Frances Drink- 
water, Alice Hanson, Georgia Holt, Marion 
Louise Parsons, Mrs. E. H. Sanborn, Mrs. H. E. 
Torrens, Mrs. S. T. White, Mrs. H. F. Whit- 
man; Second Altos —Mrs. Fred A. Dillingham, 
Mrs. G. B. Freeland, Mrs. W. H. Gardner, Mrs. 
John Goldwaithe, Annie Hurley, Mrs. W. A. 
Nelson, Mrs. E. E. Peck, Mrs. E. A. Pond, Mrs. 
G. S. Pond, Mrs. Wilson Sawyer, Mrs. E. T. 
Wasgatt, Mrs. Charles Whittier. 


The first officers of the Mendelssohn 
Club were: 

President, Mrs. E. T. Wasgatt; Secretary, 
Emily L. Merrill; Treasurer, Mrs. J. H. Eldridge; 
Musical Director, Karl P. Harrington; Accom- 
panist, Mae Silsby. 

Derthick Club, Bangor 


Accepting the plan of Wilbur M. 


ah 


MUSIC OF THE STATE OF MAINE 1897-1928 279 


Derthick of Chicago, who had de- 
scribed in the Music Magazine the 
clubs which he had formed throughout 
the West and South to the number of 
two hundred or more, the objects of 
which were the study of the history 
and literature of music and the culti- 
vation of musical appreciation, the 
Derthick Club of Bangor was organ- 
ized by Mrs. Frank L. Tuck in 1896. 
Nothing just like it in the musical line 
had before been undertaken in the 
East, for the plan of the club was to 
take up the study of musical history 
in the form of a game, and its mem- 
bership was designed to include both 
vocalists and instrumentalists. 

The reception of the idea by the 
musical people of Bangor was not at 
first an enthusiastic one, but, after 
many discouragements, an inaugural 
program, which took place in the Cen- 
tral Church Vestry in February, 1896, 
was arranged for the purpose of illus- 
trating the work of the club. 

The charter members of the club, 
which adopted its name as a tribute to 
its originator and founder of this sys- 
tem, were: 

M. H. Andrews, A. C. Morton, Horace Pul- 
len, Roland Sawyer, Dr. O. E. Wasgatt, George 
Silsby, S. H. Boardman, Mrs. H. L. Jewell, Mrs. 
C. P. Webber, Mrs. J. B. Ayers, Mrs. W. A. 
Nelson, Ella Clifford, Mrs. E. E. Peck, Emily 
Merrill, Grace Chalmers, Mae Silsby and Helena 
Smith. 

The officers elected at the first meet- 
ing were: 

Mrs. F. L. Tuck, President; Mrs. W. A. Nel- 
son, Vice President; Mrs. Ella Clifford, Secre- 
tary; Roland Sawyer, Treasurer. 

In accordance with the constitution 
at the close of the fifteenth meeting a 
new set of officers was elected and 
these were: 

Mrs. H. L. Jewell, President; Mrs. J. B. Ayer, 


Vice President; Edith M. Bradford, Secretary; 
Roland Sawyer, Treasurer. 


Among those who appeared as solo- 
ists of the Derthick Club were: 

Emily Merrill, Harry Libby, Mrs. W. B. 
Goodenow, Dr. O. E. Wasgatt, Mrs. Gorham 
Wood, Mrs. F. L. Tuck, Mrs. W. L. Bragg, Mrs. 
E. E. Peck, Rosa Berry, Estelle Peck, Mrs. E. T. 
Wasgatt, Ella Clifford, S. H. Boardman, Mrs. 
H. L. Jewell, Mrs. C. P. Webber, Mrs. W. A. 
Nelson, Mrs. J. B. Ayer, Edith Bradford, Mae 
Silsby, Mrs. George Silsby, Alice Bond, Grace 
Buzzell and A. C. Morton. 

When the proposition to the musi- 
cal people of Bangor to organize a unit 
of the Maine Festival Chorus was 
made it was thought best to merge this 
very prosperous club into the new 
chorus, so the old society forthwith 
paid all its bills, surrendered its name 
and ceased to exist as the Derthick 
Club. 

The crowning event of its short, 
though brilliant career was a three- 
day music festival, directed by Fred- 
eric S. Davenport, in May, 1897, at 
which the Athene Club, a woman’s 
literary and social club, joined it in the 
production of ‘The Messiah” with a 
chorus of one hundred voices, assisted 
by Boston soloists. 

The Derthick Club was instrumen- 


tal in awakening a greater interest in 


music in Bangor than had been known 
since the beginning of the old Penob- 
scot Musical Association fifty years 
before. 


Schumann Club, Bangor 


The Schumann Club was organized 
in May, 1898, from members of the 
Derthick Club. It was not intended 
at first that the club should be a wom- 
en’s club but, with the advent of the 
music festival, there seemed to be the 
opportunity for two organizations, and 
it was then decided that the Schumann 
Club should be a club whose member- 
ship would be composed entirely of 
women. 

On the organization of the Schu- 
mann Club copies of constitutions and 


280 


MRS. FRANK L. TUCK, FIRST PRESIDENT OF THE 
SCHUMANN CLUB OF BANGOR (1898). PHOTO BY 
CHALMERS, BANGOR. 


by-laws were obtained from several of 


the most successful musical clubs in 
America and from these the constitu- 
tion and set of by-laws for the Schu- 
mann Club were made and in this way 
a model set of working rules was 
evolved. 

The object of the club was stated to 
be “the permanent establishment of an 
organization for the musical culture of 
its members and the uplifting of the 
standard of music in the city of Ban- 
gor.” 

The annual production of “The Mes- 
siah” has always been a feature and 
the principal musical clubs of the city 
have always codperated with the Schu- 
mann Club in the performance of this 
oratorio. 


MUSIC AND MUSICIANS OF MAINE 


The officers of the Schumann Club 
for the years 1898-1899 were: 


President, Mrs. F. L. Tuck; Vice President, 
Mae Silsby; Recording Secretary, Mrs. R. L. 
Flanders; Corresponding Secretary, Faustina 
Curtis; Treasurer, Mrs. E. E. Peck; Auditor, 
Roland Sawyer; Librarian, Mary Weston; Di- 
rectors, Mrs. W. L. Nelson, George Silsby and 
Mrs, E. T. Wasgatt. 


The original members were: 


Byon Roberts, Roland Sawyer, Harry Libby, 
Hal Sawyer, George Moody, Wilbur Cochran, 
George S. Silsby, K. A. Ringwall, McCrillis Saw- 
yer, A. C. Morton, M. H. Andrews, Mrs. W. H. 
Gardiner, Mrs. F. L. Tuck, Mrs. W. L. Nelson, 
Mrs. E. E. Peck, Mrs. R. L. Flanders, Mrs. E. 
T. Wasgatt, Mrs. H. L. Jewell, Mrs. A. Pfaff, 
Mrs. N. E. Bragg, Mrs. Charles Webber, Mrs. 
Charles Cutler, Mrs. J. B. Ayer, Mae Silsby, 
Faustina Curtis, Mary Weston, Isabel Weston, 
Laura Tefft, Maude Johnson, Lillian Gray, Har- 
riet Stewart, Estelle Peck, Emily Merrill, Inez 
Merrill, Carrie Hanley, Myra Hinckley, Mary 
Chapman, Lucille Getchell, Rosa Berry, Ger- 
trude Dennett and Caroline Allan. 


The officers of the Schumann Club 
of Bangor in 1927-28 were: 


President, Mrs. Harris N. Doe; Vice Presi- 
dent, Mrs, Robert T. Clark; Recording Secre- 
tary, Mrs. Albert B. Garcelon; Corresponding 
Secretary, Mrs. Walter H. Godsoe; Treasurer, 
Josephine Wiggin; Auditor, Mrs. Linwood M. 
Jones; Press Committee, Mrs. Raymond Jenkins. 


The members were: 


Lydia Adams, Margaret Angley, Ruth Baker, 
Mrs. Edgar S. Baker, Mrs. F. P. Banks, Mrs. 
Clarence W. Bean, Mrs. John F. Cassidy, Mrs. 
Robert T. Clark, Mrs. Roy S. Coffin, Bertha 
Davis, Mrs. Leon A. Dean, Hilda Donovan, Mrs. 
T. G. Donovan, Mrs. Harris N. Doe, Mrs. Henry 
F. Drummond, Mrs. Herbert A. Dunning, Ethel 
Duren, Viola Duren, Agnes Ebbeson, Mrs. Harry 
Farnham, Mrs. A. B. Garcelon, Thelma Godsoe, 
Mrs. Walter Godsoe, Mary H. Hayford, Mrs. 
Dorothy Doe Hicks, Mrs. Frederick W. Jacques, 
Mrs. Raymond P. Jenkins, Mrs. Linwood M. 
Jones, Mrs. Maurice King, Josephine Lane, Ma- 
bel Lane, Mrs. Frances McBride, Teresa Mc- 
Laughlin, Mrs. James I. Mosher, Mrs. Carrie 
Newman, Ellen Peterson, Mrs. Wilbur E. Pierce, 
Mrs. Edward S. Redman, Maude Russell, Mrs. 
V. K. Sipprelle, Mrs. Gertrude Sparks, Anna 
Strickland, Helena M. Tewksbury, Mrs. Elmer 
R. Tobey, Josephine M. Wiggin, Barbara Whit- 
man and Mrs. B. P. Williston. 


MUSIC OF THE STATE OF MAINE 1897-1928 


Past Presidents of the Schumann 


Club have been: 

Mrs. Elizabeth Tuck, who was its organizer, 
1898-1909; Mrs. Helen Jewell, 1909-1914; Mrs. 
George H. Larrabee, 1914; Anna Strickland, 
1915-1918; Mrs. Helena Tewksbury, 1918-1920; 
Mrs. Thomas Donovan, 1920-1923; Mrs. Henry 
Drummond, 1923-1925; Mrs. Harris N. Doe, 

1925-1928. 


Bangor Symphony Orchestra 


The suggestion that symphony con- 
certs be given in Bangor was made by 
Abbie N. Garland early in the sum- 
mer of 1896. An enthusiastic and 
ready acceptance on the part of the 
musical public lead to the institution 
of a subscription sale, and the first 
program in a series of six, known as 
the Pullen Symphony Concerts, was 
presented in City Hall on the eve- 
ning of November 2, 1896. This in- 
cluded the performance of the “Wil- 
liam Tell Overture,” Schubert’s “Un- 
finished Symphony,” and three ex- 
cerpts from “Tannhduser.” ‘The or- 
chestra numbered only sixteen and the 
men who constituted its personnel 
were: 

Horace M. Pullen, conductor; Dr. Oscar E. 
Wasgatt, first violin; Harold C. Sawyer, second 
‘violin; Roland J. Sawyer, viola; Melville H. 
Andrews, cello; Eugene A. Halen, bass; Samuel 
H. Boardman, flute; Harvey J. Woods and J. 
Frank Todd, clarinet8; Frank L. Tuck and J. 
Harry Haynes, cornets; Charles H. Lord, trom- 
bone; Edward C. Adams and Howard F. Sawyer, 
horns; Henry D. Adams, drums; Knute A. Ring- 
wall, piano. 

_ After the third season the orchestra 

took over its own financial burden. 
The profits above the current expenses 
and the pay of the men created a fund 
for the purchase of instruments not-in 
use locally and needed for the proper 
expansion of the organization. Some 
contributions from friends of the cause 
were added, and the Athene Club pur- 
chased a bassoon and furnished the 
money for a player to secure instruc- 
tion in Boston. 


MRS. HARRIS N. DOE, PRESIDENT OF THE SCHU- 
MANN CLUB OF BANGOR, 1928. 


With the growth of the orchestra 
the operating expenses steadily in- 
creased, and the necessity of a reserve 
fund became so urgent that in I90I a 
corporation with a capital stock of ten 
thousand dollars was formed under 
the name of the Bangor Symphony 
Orchestra. An interest was taken by 
leading citizens and business men and 
sufficient subscriptions of stock re- 
sulted to encourage the cause. After 
serving for a time as cellist of the or- 
chestra M. H. Andrews became first 
violinist, and upon the removal of Dr. 
Wasgatt from the city he succeeded 
him as concert master. In 1go1 Mr. 
Andrews assumed the baton and Mr. 
Pullen became concert master. He 
continued as conductor until the spring 
of 1904, when Mr. Pullen again re- 
sumed the leader’s position. 

About this time a period of misfor- 


281 


282 MUSIC AND MUSICIANS OF MAINE 


BANGOR SYMPHONY ORCHESTRA, SEASON 1927-1928, ADELBERT WELLS SPRAGUE, CONDUCTOR. 


tune befell the orchestra and concerts 
were discontinued. In IgII it met 
with a real disaster. All the official 
records which had been taken from 
the bank vault in preparation for the 
annual stockholders’ meeting were de- 
stroyed in the great Bangor fire and 
with the subsequent failure of the bank 
a serious financial loss was suffered. 

Nevertheless, during the season of 
I912-13 three programs were present- 
ed, as an experiment, under the title of 
the “Young People’s Symphony Con- 
certs.” These took place at 4.30 in the 
afternoon and programs of one hour 
in length were given. No soloists were 
offered, but splendid audiences greeted 
each concert. 

In October, 1918, a new organiza- 
tion was perfected in which the orches- 
tra became self supporting. A board 
of directors composed entirely of ac- 
tive members of the organization was 
elected, and, in place of the capital 
stock of the old club, an endowment 
fund was established to insure the 
further permanency and growth of the 
orchestra, with the stipulation that 
neither the principal nor the interest 
of this fund should be used until the 
amount reached ten thousand dollars. 

Frederick W. Adams, Dr. Fred E. 
Maxfield and William E. Brown were 


selected as the first trustees of the 
fund. Substantial donations were made 
and the orchestra members and citi- 
zens of Bangor contributed liberally 
to it. 

At the close of the 1919-20 season 
Adelbert Wells Sprague was chosen 
conductor in place of Mr. Pullen, 
resigned. Like Mr. Andrews, Mr. 
Sprague first entered the orchestra as 
cellist, but in later seasons he served 
as first cellist and assistant conductor. 

The new corporation, chartered un- 
der the statute relating to fraternities, 
charities, etc., proved to be a complete . 
success. ‘I'wo policies in this more re- 
cent epoch of the orchestra’s career 
proved beneficial and stimulating: 
First, the orchestra being a completely 
self-governed organization became in- 
dependent of that outside dictation or 
control which obtains in the case of 
many symphonic organizations, and 
thus was created a better morale which 
resulted in more perfect team work; 
second, the determination of the man- 
agement that no soloists except or- 
chestra members should perform at the 
concerts, tended to focus public in- 
terest and enthusiasm upon the orches- 
tra itself rather than outside talent as 


- assisting artists. 


Joint concerts with other active mu- 


MUSIC OF THE STATE OF MAINE 1897-1928 283 


sical interests of Bangor were produc- 
tive of a codperative spirit that was in- 
valuable, both to all the participants 
as well as to the city itself. 

Following was the personnel of the 
Bangor Symphony Orchestra in 1928: 


Conductor — Adelbert Wells Sprague; Violins 


— Harold O. Doe, Concert Master; Estelle Bau- 
mann, Frances L. Bailey, E. Merle Bailey, A. 
Stanley Cayting, George A. Deacon, Dorothy 
Brown Dean, Hazel Robinson Dinsmore, Ken- 
neth L. Dunham, Viola A. Duren, Hyman Em- 
ple, M. Hilda Finnegan, M. Frances Flannigan 
Hogan, Harold M. Inman, Charles C. Larsen, 
Karl D. Larsen, Earl S. Merrill, Gertrude B. 
McClure, Helena E. Murray, Leonard L. Pooler, 
Eugene W. Rice, H. Edward Rice, Mabel M. 
Sipprelle; Violas — Edith Bowen, Linwood J. 
Bowen, Miriam Morris Edgecomb, W. Alonzo 
Johnson, Margaret Raynes, Gwendoline Barnes 
Robinson, Bernice Mayberry Sawyer, Edwin F. 
Tewksbury, Russell A. Whittemore; Violoncellos 
— Arthur L. Atwood, Maud Murray Bean, Faith 
Donovan, Anna Torrens Dymond, Stanley T. 
Leonard, James D. Maxwell, Carl W. Maxfield, 
Gladys H. Merrill, Inez Stevens Ready; Contra- 
basses — Lothrop Coldwell, Eugene A. Haley, 
Arthur I. Rowe; Flutes —W. McCrillis Sawyer, 
Herbert E. Thompson; Bassoon — Vaughn N. 
Coffin, Owen F. Infiorati; Oboe and English 
Horn — Lloyd M. Dearborn, Henry F. Drum- 
mond; Clarinets — Frederick W. Baumann, Al- 
ton L. Robinson; Horns—David L. Carver, Hall 
C. Dearborn, Paul L. Leonard, Winfield F. Saw- 
yer; Trumpets—Irving W. Devoe, J. Harry 
Haynes; Bass Clarinet —Orman B. Humphrey; 
Trombones — Maurice P. King, Raymond H. 
Morrison, Benjamin T. Shaw; Tuba — Frank E. 
Robinson; Harp—Florence Tourjee Young; 
Tympani — Frank G. Burrill, Francis G. Shaw; 
Percussion — Car] S. Baumann. 


The Bangor Symphony Orchestra 
was, in 1928, the oldest organization of 
its kind in the State. Its conductors 
have been: 

Horace Mann Pullen, 1896-1901; Melville H. 
Andrews, 1901-1904; Horace Mann Pullen, 1904- 
1920; Adelbert Wells Sprague, 1920-1928. 

With its more than thirty-two years 
of experience in orchestra work its 
performances, under these able leaders, 
may besaid to compare favorably with 
those of similar orchestras in the larger 
musical centers of the country. 


\ 


ADELBERT WELLS SPRAGUE, CONDUCTOR BANGOR 
SYMPHONY ORCHESTRA, 1920-1928, AND DIRECTOR 
DEPARTMENT OF MUSIC, UNIVERSITY OF MAINE. 


The officers of the association in 
1928 were: 


President, Adelbert W. Sprague; Vice Presi- 
dent, W. McCrillis Sawyer; Clerk and Treasur- 
er, Alton L. Robinson; Board of Directors, A. 
Stanley Cayting, Hall C. Dearborn, Henry F. 
Drummond, James D. Maxwell, Alton L. Rob- 
inson, W. McCrillis Sawyer and Adelbert W. 
Sprague; Trustees of the Endowment Fund, 
Frederick W. Adams, William E. Brown and 
Fred E. Maxfield. 

M. H. Andrews, founder of the Ban- 
gor Symphony Orchestra, was, during 
the Civil War, a cornettist in an army 
band stationed at Savannah. So popu- 
lar did he become that on his departure 
from that city he was presented by 
his officers with a silver cornet, and by 
the citizens with a gold watch, bearing 
an appropriate inscription. He served 
as fifer, drummer, and regimental lead- 


284 


MUSIC AND MUSICIANS OF MAINE 


MELVILLE H. ANDREWS, FOUNDER OF THE BANGOR 
SYMPHONY ORCHESTRA. 


er of the Twelfth Maine Regiment 
Band from which he was retired in 
April, 1866. Soon after returning to 
Bangor he organized (1867) a little 
orchestra of four or five pieces which 
he led until 1890 and which was the 
nucelus from which the Bangor Sym- 
phony Orchestra started. Mr. An- 
drews was also conductor of the Ce- 
cilia Club Chorus and he was the 
founder of the Andrews Music House 
in Bangor. 


The Bach Choir, Bangor 


The ambitions of the officers of the 
Bach Choir of Bangor, organized Sep- 
tember 16, 1925, for the purpose of 


giving a presentation of Bach’s “Pas- 
sion according to St. Matthew,” and, 
if interest was aroused, to continue to 
sing Bach’s music, came to a full reali- 
zation on Palm Sunday, 1927, when, 


with the aid of the Bangor Festival 


Chorus, it gave a memorable interpre- 
tation of this great composition in the 
St. John’s Episcopal Church. 

The work was conducted by Mrs. 


Elizabeth Tuck, founder of the choir, 


and she was assisted by Mrs. Teresa 
Tuck Thurston, at the piano, and Rob- 
ert W. Smith, at the organ, while the 
choir was made up of many of the 
leading church singers in that city. 
The Official Board of the Bach 


Choir consisted of: 


Mrs. Elizabeth Tuck, President; Allan Hay- 
cock, Vice President; Mrs. Teresa Tuck Thurs- 
ton, Secretary; Lloyd Jones, Treasurer; Anna 
Strickland, Auditor; and those who composed 
the choir were, Esther Armstrong, Bessie Bailey, 
Mrs. Tabor Bailey, Mrs. George Bond, Mrs. 
Adelbert Bridges, Mrs. Joseph Brown, Mrs. 
Wilfred J. Butterfield, Wilbur Cochrane, H. W. 
Coffin, Mrs. Marion Cushman, Agnes Ebbeson, 
Olga Ebbeson, F. A. Edwards, Marion Foss, 
Ross St. Germain, Charles Hamilton, Leigh 
Hamilton, Allan Haycock, Mrs. Allan Haycock, 
Harry Howland, Everett Hurd, Lloyd Jones, 
Dr. Charles A. Metcalf, Mrs. James Mulvaney, 
Ruth Newcomb, Mrs. Carrie Newman, Mrs. 
Clifford Patch, Mrs. Willard Peck, Mrs. Clar- 
ence Reynolds, Olive Smyth, Anna Strickland, 
Teresa Tuck Thurston, Mrs. Elizabeth Watson, 
Elsa Wood, Estelle Wray and Arline Wray. 


Among those who have been or- 
ganists in the Bangor churches were: 


Mabelle G. Ames, Phelonise Boutin, Blanche 
Bowden, Ida F. Brown, William H. Callinan, 
Wilbur S. Cochrane, Delia Connor, Ella F. 
Connor, Anne Russell Donovan, Huldah S. 
Doron, Mrs. Elizabeth F. Fallon, Edith M. 
Farrington, Mrs. Grace Bramhall Howes, Mrs. 
Raymond. Jenkins, M..E. Merrill, C. Winfield 
Richmond, Elizabeth Smith, Harriett Louise 
Stewart, Helena M. Tewksbury, Miss A. Thi- 
bodeau, Elizabeth Tuck, Barbara Huntington 
Whitman, Mrs. Marion Sprague Williston. 


Some of those who have sung in the 
choirs of Bangor were: 
Clinton D. Baldwin, Mrs. F. P. Banks, E. F. 


MUSIC OF THE STATE OF MAINE 1897-1928 285 


BRUNSWICK ORCHESTRAL SOCIETY, SEASON 1922-1923, CHARLES A. WARREN, CONDUCTOR. 


Bickford, Henrietta Blackwell, Josephine Buck- 
ley, Herbert Bunker, Margaret A. Butterfield, 
Mrs. A. P. Carron, F. B. Carter, Florence Ednah 
Chipman, Charles R. Clark, Mrs. R. D. Crowe, 
Mrs. L. F. Edminster, Harry Garvin, H. P. 
Greeley, Frances Hackett, Almond J. Hart, Mrs. 
W. R. Hart, Mrs. W. D. Hayes, Mrs. Earle 
Herrick, Raymond Hitchcock, Dr. E. J. Houle, 
Mrs. E. J. Houle, Mrs. W. H. Hyler, Mrs. H. R. 
Hulley, Mrs. Linwood Jones, Richard Keys, 
Helen S. Leonard, Mrs. John LeVasseur, Harry 
W. Libbey, C. Leroy Lyon, Earl C. Luce, Mary 
Mayo, C. D. McCready, John P. McGrath, 
Walter H. Mills, Frank Nason, Mrs. Wilbur 
Parke, Mrs. F. A. Peavey, Mrs. George Pelletier, 
Ellen M. Peterson, Earl Randall, Mrs. Wesley 
Randall, George Renwick, Mrs. Gwendoline 
Barnes Robinson, Mrs. Elizabeth Robinson, 
Frank Simmons, Dexter S. Smith, Dorothy 
Smith, Flora Smith, Olive Smith, Mrs. Louise 
Steeves, Anna Strickland, Ethel M. Woodman. 


M paddlssohn Club, Bath 


The Mendelssohn Club of Bath was 
organized in September, 1896. In 1897 
it became the Bath Festival Chorus, 
but it always retained its original 
name. Its first officers were: 

President, John S. Hyde; Secretary-Treasurer, 
Arthur B. Stearns; Conductor, Harry McLellan; 
Accompanist, Jessie Owen. 

Past Presidents since its beginning 
have included: 

John Shaw, George W. Dean, Arthur B. 
Stearns, Allen Irish, Mrs. George Berry, Mrs. 
Grace D. Warren, Lloyd G. Duley, Herbert E. 


Williams, Rev. David L. Wilson, H. Emma 
Magoun and Mrs. Brenda F. Hill. 


Conductors of the society have been: 


Arthur Hyde, Frederick E. Drake, N. L. 
Mower, Rev. Paul Sperry and Ernest L. Craw- 


ford. 
In 1928 the officers were: 


President, Robert S. Gordon; Vice President, 
Mrs. Luther Thompson; Secretary, Frostina 
Marston; Treasurer, Chester Plant; Conductor, 
Frederick E. Drake: Accompanist, Mrs. C. A. 
Warren. 


The St. Cecilia Club, Bath 
The St. Cecilia Club of Bath was 


another quite successful organization 
for a time. It was composed of a num- 
ber of teachers and pianists who came 
together to found the club. Among 
its members were Jennie R. Morse, 
Carrie F. Luce, Jennie R. Melcher, 
Julia H. Jackson, Mrs. A. E. Maxwell, 
Anna F. Stockbridge and Mrs. John 
Shaw. 


The Brunswick Orchestral and 
Choral Society 


The Brunswick Orchestral and Cho- 
ral Society, organized in October, 1922, 
adopted for its chief purpose the fur- 
thering of musical education. Its cho- 
rus, numbering seventy-two members, 
was well sustained by an orchestra of 
forty-one pieces. Both classical and 
modern works were included in its 
programs, which were generally pre- 


286 


MUSIC AND MUSICIANS OF MAINE 


sented in four concerts each season — 
two by the chorus and two by the or- 
chestra. Charles A. Warren was the 
director of the orchestra and Prof. E. 
H. Wass of Bowdoin College was the 
conductor of the chorus. 

The orchestra, selected largely from 
local musicians, including young play- 
ers from the schools of Brunswick and 
Topsham, was occasionally augmented 
by players from Portland and Boston. 

The chorus, made up of residents of 
Brunswick, Topsham, Bath and Free- 
port, was generally substantially in- 
creased by a number of the students 
of Bowdoin College. 

The officers of the Brunswick Or- 
chestral and Choral Society since its 
beginning were: 

President, Charles C. Hutchins; Secretary, Ed- 
ward H. Wass; Treasurer, Horace D. Lovell. 

Following was the personnel of the 
orchestra in 1926, its last active sea- 
son: 

Charles A. Warren, Conductor; First Violins 
—M. Phillips Mason, Concert Master, Mrs. 
Charles A. Warren, Aimee L. Stetson, John 
E, Townsend, Eleanor L. Frost, Leon J. Ran- 
cour, Mrs. John M. Cates, Emily C. Randall 
and Stephen J. Karkos; Second Violins — 'Thel- 
ma E. Cutler, Marguerite L. Clifford, Heliodore 
E. Menard, Richard L. Marston, Jeannett C. 
Gervais, Cecilia Leclair, Roberta Brackett and 
Roland F. Masse; Violas — Melvin T. Collins, 
Merle L. Walker, Harold E. Libby, Jr., James 
E. Sawyer; Cellos — Roland J. Sawyer, Venise 
M. Caron, Marguerite Z. Lamarre and John C. 
Gatchell; Flute—Harry T. Wall; Basses—Mau- 
rice A. Luce, Thomas T. Rideout and Charles 
M. Plummer; Oboes—Charles C. Hutchins, 
Olivine A. Bousquet; Bassoon — Harold Peter- 
son; Clarinet — Horace Lovell; Horns — John 
Yenco, Harvey E. Grant; Trumpets — Joseph 
Belanger, Leslie R. Rancourt, Harry C. Des- 
Marais; Trombone — John F. Stacy; Tympani 
— Lew Barrett; Drums — Earle B. Douglas. 

The members of the chorus 
cluded: 7 

Edward H. Wass, Conductor; Sopranos — 
Mrs. Austin H. MacCormick, Mrs. Conrad L. 
Drapeau, Mrs. Bertha McNaughton, Mrs. Wil- 
frid H. Crook, Mrs. Martha E. Carlson, Mrs. 
J. M. Royal, Alice S, Dunning, Edyth Adele 


in- 


Sadler, Isabel C. Ridley, Agnes Cloutier, Flor- 
ence Moody, Marguerite Williams, Adrienne 
Bernier, Alice Griffin, Doris Hudson, Eleanor 
Skolfield, Corris Potter, Maybelle Beach, Doro- | 
thy Frost, Martha Caswell, Emily D. Lippin- 
cott, Rose Thibault, Rhena Roberts, Lillian G. 
Powers; Altos —Mrs. Horace D. Lovell, Mrs. 
Mrytie Hicks, Mrs. Addie Alexander, Mrs. Hol- 
man Alexander, Mrs. Ernest L. Crawford, Mrs. 
Robert Toothaker, Mrs. W. H. Kenworthy, Mrs. 
B. F. Harmon, Ruth S. Ridley, Jeanette H. 
Harvey, Alice Vermette, Ruth Bangs, Dorothy 
Stimpson; Tenors — Geoffrey Vermette, Conrad 
L. Drapeau, Alfred M. Strout, Howard M. 
Chute, Richard G. Wignot, James E. Thompson, 
Raymond C. Perry, Ronald D. Wilkes, Theron 
H. Spring, Edward Fay, Arthur N. Davis, Philip 
Smith, J. M. Joslin; Basses — Charles T. Bur- 
nett, R. Seymour Webster, W. P. Stewart, Jr., 
N. I. Greene, John F. Loud, John Riley, Don 
Marshall, John F. Hagar, Gerald G. Wilder, 
Henry E. Andrews, Albert C. Letarte, Edward 
S. Hammond, James M. Royal, G. Allen Howe, 
Thompson E, Ashby, John K. Ames, L. B. Hunt, 
I. G. Stone; Accompanist — Edmund M. Mc- 
Closkey. 


Mozart Club, Brunswick 


The Mozart Club of Brunswick, 
which was organized in 1902, num- 
bered among its members the fore- 
most of Brunswick’s musicians. ‘The 
active membership of the club was 
limited to twenty but it included some 
forty associate members. The club 
met monthly for twenty-five years at 
the residence of Mrs. Charles Burnett 
where programs were presented by 
members of the club, though occasion- 
ally an artist from some other city was 
featured. 

The officers of the Mozart Club of 
Brunswick for the season of 1926-1927 
were: 


President, Mrs. Sue Winchell Burnett; Vice 
President, Mrs. Frances Skolfield Smith; Treas- 
urer, Isabel Forsaith; Secretary, Amy Cushing; 


and the membership included: 


Mrs. Constance French Baxter, Mrs. Caro- 
line Carey, Venise Caron, Mrs. Mary Cates, Mrs. 
Janie Crawford, Mrs. Mildred Clark Crook, Mrs. 
Amelia Cushing, Mrs. Emily Baxter Holmes, 
Alice Lincoln, Emily Lippincott, Mrs. Florence 
A. Lovell, Mrs. Gertrude MacCormick, Mrs. 
Prudence Morrell, Marion Rancour, Isabel Rid- 


MUSIC OF THE STATE OF MAINE 1897-1928 287 


ley, Adele Sadler, Mrs. John Thalheimer, Mrs. 
Belle Jordan Warren. 

Though the winter of 1926-1927 was 
one of the most successful in the his- 
tory of the club, it suspended opera- 
tions, though perhaps not permanently, 
at the close of this season. 

Another instrumental organization 
in Brunswick in 1927 was the Wom- 
en’s String Quartette, whose members 
were Eleanor Frost, Emily Randall, 
Ruth Johnson and Venise M. Caron. 


Lyric Club, Caribou 


The Lyric Club of Caribou was or- 
ganized October 17, 1924, with a stat- 
ed purpose “to develop the talent of 
its members, to give programs of vocal 
and instrumental music, and to stimu- 
late musical interest in the commu- 
nity.” Its first officers were: Presi- 
dent, Mrs. Carlotta Keyes; Vice Pres- 
ident, Mrs. Birdena Powers Pierson; 
Secretary, Edna Johnson; Treasurer, 


Mrs. Dora Doyle. 
Among its activemembers have been: 


Mrs. Sarah M. Briggs, Mrs. Elizabeth Bou- 
chard, Mrs. Elizabeth B. Collins, Mrs. Leta Col- 
lins, Mrs. Anna Cyr, Mrs. Dora Doyle, Mrs. 
Estella Gregory, Mrs. Ethel Havey, Mrs. Lima 
Harmon, Mrs. Carlotta Keyes, Mrs. Louise 
Kidney, Mrs. Charles Kinney, Mrs. Lena Leav- 
itt, Mrs. Gladys Morton, Mrs. Blanche McNelly, 
Mrs. Louise Dade Odell, Mrs. Birdena P. Pier- 
son, Mrs. Ella Powers, Mrs, Mabelle Porter, 
Mrs. Blanche L. Roberts, Mrs. Chavala Savage, 
Mrs. Violet S. Scott, Mrs. Ada M. Shaw, Mrs. 
Hazel G. Shaw, Mrs. Viora A. Soucie, Mrs. Flora 
C. Woodworth, Hope Anderson, Avis Ebbett, 
Anna L. Hallett, Marion Hitchings, Edna John- 
son, Anna J. Keating, Elizabeth Sincock, Grace 
Swenson and H. Reta Wheaton. 

Mrs. Sarah Briggs was Second Vice President 
and Elizabeth Sincock was Corresponding Secre- 
tary, and the associate members in 1926 were 
Mrs. Ollie Cunningham and Mrs. Margaret 
Irvine. 

The officers in 1928 were: 


President, Mrs. Birdena Powers Pierson; Vice 
President, Mrs. Sarah M. Briggs; Recording Sec- 
retary, Mrs. Mabel L. Porter; Corresponding 
Secretary, Grace Swenson; Treasurer, Mis. Dora 
L. Doyle. 


MRS. BIRDENA POWERS PIERSON, PRESIDENT OF THE 
LYRIC CLUB OF CARIBOU, 1928. 


Harmonic Club, Cornish 


The Harmonic Club of Cornish was 
founded by Mrs. Rose W. Jameson. 

The first officers were: 

President, Bernice A. Woodbury; Vice Presi- 
dent, Alice E. Elliott; Secretary, Winnifred L. 
Dils; Treasurer, Virginia L. Warren. 

Its object was the promotion of mu- 
sic along educational lines, to supple- 
ment the work of the music teacher in 
maintaining the interest of the pupil in 
the serious study of music, ana, 
through the evening programs, to give 
to the student the confidence requisite 
to public performance. 

The officers in 1928 were: 

President, Barbara Small; Vice President, 
Phyllis Irish; Secretary, Dorothy Ingerson; 
Treasurer, Elinor Syphers. 

Members in 1928 included: 

Edna Abbott, Helen Adams, Elizabeth Ben- 


288 


NELLIE LOUISE MCCANN, FIRST PRESIDENT ANNIE 
LOUISE CARY CLUB, GORHAM, MAINE, 1925-1928. 
PHOTO BY ADAMS STUDIO, PORTLAND. 


son, Alta Clemmons, Alice Elliott, Wilma Hatch, 
Dorothy Ingerson, Phyllis Irish, Phyllis Loud, 
Dorothy Minor, Winthrop Parker, Sadie Perkins, 
Arnold Small, Barbara Small, Emma Small, 
Eleanor Syphers, Elizabeth Syphers, Lillian 
Teaubalt, William Teaubalt, Virginia Warren, 
Bernice Woodbury. 


Nordica Club, Fort Fairfield 


The Nordica Club of Fort Fairfield 
was organized August 7, 1924, with 
its purpose “to encourage a greater 
interest in music among its members 
and to increase activities in the com- 
munity.” 

With the exception of the corre- 
sponding secretary, until 1927 the of- 
ficers from its beginning were: 


President, Mrs. Laura Fessenden; Vice Presi- 
dent, Mrs. E. Pauline Powers; Secretary, Mrs. 
Caroline Matthews; Treasurer, Mrs. Alice Johns- 
ton; Chorus Director, Mrs. E. K. Guild. 

Mrs. Beryl Fowler was the first Cor- 
responding Secretary of the Club but 


MUSIC AND MUSICIANS OF MAINE 


on her removal from Fort Fairfield 
she was succeeded by Sarah Hopkins. 

The monthly meetings of the Nordi- 
ca Club were among the chief musical 
and social events of Fort Fairfield. 

Among those who were members of 
the Nordica Club since its organiza- 
tion have been: 


Fern I. Achorn, E. Mildred Atwater, Mrs. 
Verna L. Averill, Mrs. Benjamin Bird, Agnes 
Bishop, Mrs. Austin Buck, Violet Buxton, Mrs. 
Lillian V. Cary, Edna M. Chamberlain, Mrs. 
Jasper Crouse, Leona Debeck, Mrs. Edward Ed- 
munds, Jr., Mrs. N. Fessenden, Mrs. Winnifred 
Field, Cecil Fisher, Alice French, Marian French, 
Mrs. Rex. Gellerson, Norma H. Goodhue, Mrs. 
Grace S. Goss, Mrs. Maude G. Gould, Mrs. 
Mary A. Guild, Mrs. Henrietta B. Holt, Mrs. 
Mattie C. Haines, Mrs. Lena Harvey, Sarah 
Hopkins, Helen Hopkins, Ruth Hopkins, Mrs. 
Ray Johnston, Mrs. Leland Jones, Mrs. Clyde 
Knight, Edna Knowles, Pauline Le Vasseur, 
Mrs. Kate B. Libby, Mrs. A. B. Loane, Jr., Mrs. 
Junius Loring, Mrs. Caroline C. Matthews, Mrs. 
Hazel C. McBride, Bess McDougal, Annie Mc- 
Mennamin, Mrs. Alden Nightingale, Mrs. Frank 
Osborne, Mrs. Loomis Osborne, Mrs. Helen D. 
Perrier, Mrs. Fred Peterson, Mrs. H. T. Powers, 
Mrs. Maude L. Rediker, Mrs. Elsie M. Reed, 
Elizabeth Richards, Electra Sandstrom, Mrs. 
Warren Sawyer, Mrs. Ellen Sharpe, Mrs. Ger- 
trude R. Skolfield, Mrs. Robert Slipp, Mrs. 
Clementine J. Yorke, Mrs. L. D. Young. 


The officers in 1928 were: 


President, Mrs. Austin Buck; Vice President, 
Mrs. A. B. Loane, Jr.; Recording Secretary, Mrs. 
Edward Edmunds, Jr.; Corresponding Secretary, 
Ruth Hopkins; Treasurer, Annie McMennamin; 
Chorus Director, Mrs. Benjamin Bird. 


A.M. Abbott Chorale Society, Fryeburg 


A society that has done much to 
stimulate interest in music in the town 
of Fryeburg is the A. M. Abbott Cho- 
rale Society which was founded for the 
purpose of establishing a permanent 
musical organization in the Fryeburg 
Academy. It was named in honor of 
Alberta Mabry Abbott. 

The first concert by this organiza- 
tion was given on January 31, 1926, 
in which one hundred and thirty-five 
members participated and these were 


MUSIC OF THE STATE OF MAINE 1897-1928 289 


assisted by an orchestra of seventeen 
musicians, 

In the two years following its or- 
ganization the society gave seventeen 
concerts. 

The charter members were all form- 
er pupils of Mrs. Abbott and these 
were: 


Daphine Barker, Helen Baker, Ethel Hall, 
Clyde Johnson, Ruth Bell, Averil Harnden, 


Esther Baker, Edmund Emerson, Annie Bemis,’ 


Louis Solari and H. A. D. Hurd. 


The officers since its beginning have 
been: 


President, Daphine Barker; Vice President, 
Helen Baker; Secretary, Ethel Hall; Treasurer, 
Clyde Johnson; Librarian, Robert Littlefield; 
Accompanists, Ruth Shaw, Dorothy Haley, Clyde 
Johnson; Director, H. A. D. Hurd; Chaplains, 
Rev. E. W. Wild and Rev. L. A. Dole. 


Anne Louise Cary Club, Gorham 


The Annie Louise Cary Club of 
Gorham, named for the celebrated 
singer, was organized November 17, 
1925, for the purpose of getting to- 
gether the musical people of the town 
in order that they might be an inspira- 
tion to one another, to continue their 
personal study and interest in music, 
and to bring before the public, by oc- 
casional open meetings, both music 
and musicians for the enjoyment and 
edification of the community. Its first 
officers were: 


President, Nellie Louise McCann; Vice Presi- 
dent, Mrs. Lawrence N. Cilley; Secretary, Mrs. 
Frank A. Smith; Treasurer, Mrs. David W. 
Sturgis. 

Officers of the Annie Louise Cary 
Club in 1927-1928 were: 

President, Nellie Louise McCann; Vice Presi- 
dent, Mrs. Harry D. Boynton; Secretary, Mrs. 
Joseph E. Parker; Treasurer, Mrs. David W. 
Sturgis; Chairman Program Committee, Mrs. T. 
Everett Fairchild; Chairman Executive Commit- 


tee, Mrs. Hazel Langdon; Counsellor of Junior 
Club, Mrs. Lawrence N. Cilley. 


Other members in 1928 were: 


MARY E. BURPEE, FOUNDER AND FIRST PRESIDENT 
HOULTON MUSIC CLUB. 


Mrs. Austin Alden, Miriam Andrews, Mrs. 
Chase A. Boothby, Mrs. W. Stanley Carne, 
Frances Brown, Mrs. J. Spencer Harris, Mrs. 
Lewis M. Day, Mrs. Oscar E. Huse, Nellie W. 
Jordan, Mrs. Philip P. Lewis, Mrs. William T. 
Libby, Mrs. George Littlefield, Edith Lowell, M. 
Loy Page, Mrs. Harry C. Palmer, Lois Pillsbury, 
Mrs. Marshall M. Phinney, Mrs. James B. Ridg- 
way, Mrs. John Sawtelle, Mrs. Edward P. Sink- 
inson, Elizabeth Sinkinson, Margaret Sinkinson, 
Mrs. Frank A. Smith, Mrs. William R. Stigman, 
Mrs. Ludger Sylvain, Mrs. Arthur F. Talbot, 
Mrs. Louis P. Woodward, Jennie Pierce Whitney. 


Among the former members of this 
club have been: 
Margaret Boothby, Esther Collins, Mrs. 


Stephen E. Patrick, Evelyn Viles, Olena Viles 
and Martha Wasson. 


During the club’s first season a Cary 
collection of photographs and personal 
mementoes of the prima donna was 
begun. The initial gifts to the collec- 
tion were made by Frederic Mariner, 
Susie P. Clement and Mr. and Mrs. 
Samuel Edwin Cary. 


290 MUSIC AND MUSICIANS OF MAINE 


MRS. CLEVELAND W. TOWERS, PAST PRESIDENT OF 
THE HOULTON MUSIC CLUB. 


Houlton Music Club 


The Houlton Music Club was or- 
ganized in 1912 by Mary E. Burpee. 
The announced object of the club was 
“to develop in its members a higher 
artistic standard in the rendering of 
musical works and to advance the art 
of music in the community.” 

The presidents since its organiza- 
tion have been: 


Mary E. Burpee, Mrs. Beatrice Churchill, 
Mrs. Lulu Lindsay,* Mrs. Minnie Hughes, Mrs. 
Bessie Fairbanks, Mrs. Anna Goodridge, Mrs. 
Lida B. Hodgins and Mrs. Daisy Towers. 


The first officers of the club were: 


President, Mary E. Burpee; First Vice Presi- 
dent, Gertrude Attridge; Second Vice President, 
Lucretia Packard; Recording Secretary, Mrs. 
Cleveland Towers; Corresponding Secretary, Ilda 


Perry; Treasurer, Mrs. Hadden Thomas; Audi- 
tor, Helen Coan; Custodian, Annetta Terrill. 


_The club joined the State Federa- 
tion in 1922. 

The officers of the Houlton Music 
Club for the year 1927-1928 were: 


President, Mrs. Bessie White; First Vice Pres- 
ident, Mrs. Phyllis Cumming; Second Vice Pres- 
ident, Mrs. Mabel Rose; Recording Secretary, 
Mrs. Louise Currie; Corresponding Secretary, 
Mrs. Rosina Wetmore; Treasurer, Mrs. Ruth 
Barker; Auditor, Cecelia Downie; Librarian, Mrs. 
Annie Barnes; Musical Director, Mrs. Mabel 
Rose; 
and the members for this year were: 

Mary Allen, Mrs. Ruth Barker, Mrs. Annie 
Barnes, Mrs. Dora Berrie, Cora Braun, Louise 
Buzzell, Wilma Carll, Mrs. Zeula Carson, Mrs. 
Beatrice Churchill, Mrs. Margaret Cotton, Mrs. 
Sadie Crockett, Mrs. Phyllis Cumming, Mrs. 
Louise Currie, Mrs. Anne Davenport, Mrs. Gold- 
ie Dow, Cecilia Downie, Mrs. Ressie Fairbanks, 
Mrs. Lila Gardiner, Mrs. Ruth Gilpatrick, Mrs. 
Anna Goodridge, Mrs. Grace Hartley, Mrs. Rena 
Hassell, Anna Hallett, Mrs. Lida Hodgins, Mrs. 
Ina Hughes, Mrs. Dorothy Jenny, Mrs. Arlene 
Jenkins, Mrs. Myrtle Knox, Doris Latneau, Le- 
nona Lougee, Mrs. Mathilda Lowery, Francis 
Mansfield, Mrs. Marion McCready, Eva Mc- 
Ginley, Leah McIntyre, Virginia Monahan, Mrs. 
Nellie Nichols, Myrtle Orchard, Mrs. Mabel 
Rose, Mrs. Gertrude Scott, Mrs. Daisy Towers, 
Mrs. Rosina Wetmore, Mrs. Bessie White, Mrs. 
Caro Whitney, Mrs. Eleanor Wilson. 

Other members have been: 

Mrs. Jennie Baldwin, Mrs. Charlotte Bishop, 
Hattie Blanche, Mary Bolter, Marion Buzzell, 
Mrs. Mae Cleveland, Mrs. Kathleen Dalton, 
Kathleen Dempsey, Mrs. Idella Fitzsimmons, 
Mrs. Camilla Grant, Beatrice Hackett, Mrs. 
Minnie Hughes, Mrs. Flora Hussey, Mrs. Vena 
Jones, Mrs. Theresa Ludwig, Helen McKay, 
Mrs. Winona Newell, Ada Ross, Drusilla Rus- 
sell, Natalie Smith, Eleanor Taylor, Gretchen 
Turner. 


Club Musical Litterarie, Lewiston- 
Auburn 

The Club Musical-Litterarie, one of 
the oldest existing clubs in Lewiston- 
Auburn, was founded April 22, 1888, 
and was incorporated the same year. 
It originated in the choir of St. Peter’s 
Church and was organized by Henry 
F. Roy, who served as its President 


MUSIC OF THE STATE OF MAINE 1897-1928 291 


and Musical Director for many years. 

At first this club was known as “So- 
ciete Ste. Cecile.’ When it combined 
with the literary club, “The Club Cri- 
mazie” (named after the Canadian 
poet), it took its newer title. Its mem- 
bers, composed largely of professional 
and business men of Franco-American 
element, in 1928, numbered about one 
hundred and fifty. | 
’ The society specializes in the study 
and presentation of light operas. 

Among the musical productions it 
has given are the following: “The 
Drum Major’s Daughter,” “Olivette,” 
“The Mascotte,” “Les Dragons de 
Villars,” “The Bells of Corneville,” 
and “La Fille de Madame Angot.” 

There has also been presented, in 
their hall, a large number of musical 
programs with local talent. 

Some of the best French speakers 
in the world have been sent to them 
by the Alliance Francaise of Paris. 
The club at one time had a library of 
three thousand volumes, largely French 
classics. 

The first officers of the society were: 

President, Henry F. Roy; Vice President, Z. 
Blouin; Secretary, Dr. L. E. N. Matte; Treas- 
urer, L. T. Chabot; Assistant Treasurer, eo 
Vincent; Musical Director, Henry F. Roy. 

The officers of the Club Musical- 
Litterarie in 1928 were: 


President, Raymond Lévesque; Vice Presi- 
dent, Lucien Bergeron; Secretary, Aimé Asselin; 
Treasurer, Romain Marcoux; Musical Director, 


Valdor Couture. 


Androscoggin Musical Society 


In the nineties the Androscoggin 
Musical Society was a flourishing or- 
ganization. B. F. Wood was, for some 
time, its director, and later Hermann 
Kotzschmar of Portland became its 
conductor. At a concert given in Mu- 
sic Hall in 1891 the Scriptural Idyll, 


“Rebecca,” by Barnby, was presented 


with a full chorus and orchestra. B. 


HENRY F. ROY, FOUNDER AND FIRST PRESIDENT OF 
CLUB MUSICAL LITTERARIE, LEWISTON-AUBURN 
(1888). 


F. Wood directed and Harvey S. Mur- 
ray was pianist. The soloists were 
Alice Esty, W. H. Fessenden and Dr. 
G. Robert Clark. George Lowell Tracy 
was the leader of the orchestra which 
numbered twenty pieces, and there 
were one hundred singers in the chorus. 


Clef, Clavier and Spinet Clubs, 


Lewiston 


In 1892 a group of women (pianists 
of former years in Lewiston and Au- 
burn), who were desirous of resuming 
their study of music, formed a reading 
class which took up the history of mu- 
sic. Later this same group, number- 
ing fourteen, held regular meetings for 
piano practice at the homes of the 
members under the direction of Mrs. 
H. A. Kelley. The name “Clavier” 


was adopted and occasional recitals 


492 


were given. Among those first inter- 
ested were Mrs. Charles Goss, Mrs. 
W. H. Hartshorn, and Mrs. N. 8. Tay- 
lor. Fannybelle Libby succeeded Mrs. 
Kelley as director. After a time the 
original purpose of the club as a read- 
ing club was abandoned and the so- 
ciety gave itself up to the presentation 
of musical programs. In 1902 the 
membership had increased to thirty- 
two. Among others who were promi- 
nent in this society were Nettie Mer- 
rill, Mrs. ds, J,-Bitter,: Mts aan: 
Leonard, Mrs. F. E. Pomeroy and 


Mrs. W. F. Robbins, who was its ° 


President in 1902. 

In May, 1894, E. Belle Oakes and 
Carrie Miller made the first move to- 
ward organizing a club which should 
result in a better acquaintanceship 
among the girls of Lewiston and Au- 
burn, with music as the bond of union. 
This club took “Spinet” as its name; 
its object, as stated in the constitution, 
being “to promote a knowledge of the 
History of Music, Modern Musicians, 
the Composers and their Composi- 
tions.” The meetings of the Spinet 
Club were held in the evening. The 
Clavier, which was still meeting as a 
class for regular practice and the study 
of musical history, was an afternoon 
club. The days of the Androscoggin 
Musical Association had passed and 
the Festival Chorus had not been or- 
ganized so the Spinet met a special 
need. 

Regular programs were given by 
these two clubs and the Spinet, even 
at this early date, had a printed Year 
Book. 

During the same year (1894) Mrs. 
Alice J. Skolfield, Mrs. A. W. Fowles 
and Mrs. Abbie Dyer were instru- 
mental in forming an afternoon club 
which adopted the name of Clef Club. 

The Clef Club and the Spinet Club 


undertook a course of study each sea- 


MUSIC AND MUSICIANS OF MAINE 


son and developed and maintained an 
interest in classical composers that 
added much to the interest of their 
members. Among those who served 
as presidents of the Clef Club were: 


Mrs. Abbie Emmons, Mrs. Maud Morey, Mrs. 
Alice Parker, Mrs. Ida Packard, Mrs. Alice Skol- 
field. 


Musical Union, Lewiston 


In February, 1899, the three clubs, 
The Clef, Clavier and Spinet, began 
holding occasional meetings together 
and to provide for the joining of these 
the Musical Union was organized. 

Among those who appeared as solo- 
ists of The Musical Union were: 

Angie Starbird, Maud Teel, Carrie E. Miller, 
Helen Winslow, Mrs. Louise Marie Bitter, Mrs. 
W. H. Hartshorn and Mrs. Susie Jewett Folsom. 

In the Spring of 1900 the operatta 
“Genevieve” was given under the aus- 
pices of the Musical Union with the 
following soloists: 

Maud Teel, Mrs. Martha Lufkin, Julia Bearce, 
Ida Metcalf, Mrs. Louise Bitter, Mrs. Maud 
Morey and Mrs. Minnie Hartshorn. 

In the chorus were: sopranos, Mrs. 
Lily Ellsworth, May Savage, Mrs. Au- 
gusta Doyle, Alice Conant and Mrs. 
Maud Winslow; altos, Mrs. Minnie 
Wagg, Mrs. Nettie Leonard, Mrs. Rose 
Howe, Della Young, Harriet Wing and 
Hattie Curtis. 

In 1901 the society presented the 
song-cycle “In a Persian Garden” at 
the Main Street Free Baptist Church 
at which the soloists were Florence 
Knight Palmer, Portland, soprano; 
Henrietta Dennett Rice, Portland, con- 
tralto; Frederick I. Day, Boston, ten- 
or; Harry F. Merrill, Portland, bass. 

Until 1903 all meetings of the clubs 
were held in the homes of members, 
the memberships being limited to thir- 
ty or forty, but in three years they 
united in engaging a studio in Lewis- 
ton. The Spinet increased its mem- 
bership limit to fifty at this time and 


eee SS er OTe 


MUSIC OF THE STATE OF MAINE 1897-1928 293 


the other two followed shortly in like 
manner. 

In 1913 the Clavier merged with the 
Spinet and accepted the name of the 
latter. In 1917 the Spinet and the 
Clef merged and, because of the ex- 
istence of the French Musical Society 
L’Union Musicale, the name, Musical 
Union, was changed to Philharmonic. 
Spacious new studios were engaged in 
1919, this time in Auburn, and the club 
membership, comprising active and as- 
sociate members, came to number 
nearly four hundred. 

The members of the Musical Union 
were listed separately on its yearly 
program as Division Numbers One, 
Two and Three. 

The officers of the society in the last 
year of its existence under that name 
were President, Mrs. Ida F. Packard; 
Secretary, Gladys Chadbourne; Treas- 
urer, Mrs. Helen Bradbury; Vice Pres- 
idents, Mrs. Lenora Cushman, Marion 
Washburn, Mrs. Martha Coombs; Di- 
rectors, Mrs. Abbie Emmons, Mrs. 
Eva Welt and Mrs. Abbie Goss. 


Its members were: 


Division Number One — Mrs. Madine Abbott, 
Mrs. Elizabeth Bicknell, Mrs. Edith Barr, Mrs. 
Grace Barnes, Ida Cummings, Mrs. Martha 
Coombs, Mrs. Alice Crafts, Margaret Carson, 
Mrs. Lenora Cushman, Birdena Channell, Mrs. 
Mary Crowell, Louise Davis, Mrs. Augusta 
Doyle, Mrs. Grace Ellis, Mrs. Addie Fowles, 
Mrs. Nellie Greenleaf, Mrs. Emma Gledhill, Mrs. 
Abbie Hersey, Mrs. Lottie Harlow, Bertha Irish, 
Mabel Johnson, Mrs. Edna Kinsley, Lucy Lane, 
Elizabeth Litchfield, Mrs. Minnie Litchfield, 
Grace Lunt, Eunice Moulton, Mrs. Florence 
Nevens, Lucy Polk, Mrs. Florence Peirce, Mrs. 
Lillian Robbins, Mrs. Belle Rowe, Mrs. Alice B. 
Record, Mrs. Therese Scannell, Eleanor Sands, 
Mrs. Grace Webber, Helen Watson, Mattie 
Wood, Mrs. Minnie Wagg, Abigail Waterhouse, 
Mrs. Mabel Wellman, Jessie West, Della Young. 

Division Number Two— Mrs. Lena B. Al- 
ford, Sybil Albee, Exilia Blouin, Mrs. Catherine 
Bliss, Marion Burnham, Mrs. Flora G. Chase, 
Mrs. Verna Chadbourne, Mrs. W. E. Donnell, 
Vertie Edwards, Lucy Farrar, Margaret Green- 
leaf, Mrs. Abbie Goss, Ethel Gould, Cora F. 


Heath, Effie M. Heath, Mrs. Millie Holman, 
Lilla M. Howard, Maude Huskins, Margaret 
Ham, Mrs. Ida Jordan, Blanche Linscott, Mrs. 
Nettie Leonard, Ida Metcalf, Elizabeth Mc- 
Kenna, Carrie E. Miller, Mrs. Grace McKenney, 
Ellen M. Moseley, Mrs. Maude Morey, Mrs. 
Beatrice Ness, Verna A. Noyes, Belle E. Oakes, 
Georgie Philoon, Mrs. Alice Parker, Mrs. Sadie 
Prince, Mary Pottle, Mrs. Ada W. Rollins, Mrs. 
Lena Robie, Lillian Rowe, Angie Starbird, Mrs. 
Helen Sleeper, Gertrude Smith, Mrs. Alice J. 
Skolfield, Mrs. Lillian Sturgis, Mrs. Ethel Tem- 
ple, Marion Washburn, Carrie E. West, Mrs. 
Shirley Wilson. 

Division Number Three — Mrs. Louise Bart- 
lett, Hazel Bearce, Mrs. Helen Bradbury, Abbie 
Buckley, Gladys Chadbourne, Mrs. Anna Chase, 
Helen Conant, Elizabeth Danforth, Rose Doyle, 
Mrs. Abbie Emmons, Margaret Flanagan, Mrs. 
Effe Fogg, Mrs. Mary Gifford, Marguerite 
Girouard, Mrs. Pearl W. Harriman, Rosalie 
Horne, Mrs. Hattie C. Johnson, Mrs. Maude 
Kavanaugh, Angelina LeBranch, Mrs. Nettie 
Leonard, Mrs. Millie P. Litchfield, Eliza Lowell, 
Mrs. Elizabeth Ludden, Elizabeth Marston, Mrs. 
Lila Maloon, Gertrude May, Mrs. Alice Myrick, 
Mrs. Ethel Nash, Mrs. Ida Packard, Mrs. Wini- 
fred Packard, Mrs. Martha Robinson, Mrs. Emily 
Shackford, Laura Stetson, Mrs. Emma L. Stev- 
ens, Mrs. Sadie Tanner, Lona Tarr, Mrs. Lillian 
Taylor, Elizabeth Tobey, Mrs. Annie Turgeon, 
Mrs. Eva T. Welt, Mrs. Maud Whitney, Mrs. 
Junita Williams, Helen Winslow. 

Following are the names of those 
who served as presidents of the Mu- 
sical Union of Lewiston and Auburn: 

Mrs. Ida Packard, Mrs. Helen Sleeper, Mrs. 
W. H. Hartshorn, Mary A. Stevens, Mrs. A. W. 
Anthony, Beatrice Phaneuf, Effe Heath, Mrs. 
N. S. Taylor, Mrs. Elizabeth Ludden, Mrs. D. 
D. Coombs and Elizabeth Litchfield. 


Philharmonic Club, Lewiston 


The Philharmonic Club has come to 
be the principal Woman’s Musical So- 
ciety of Auburn and Lewiston. The 
first officers were: 

Elizabeth Litchfield, president; Mary Pottle, 
Vice President; Mrs. F. H. Holman, Secretary; 
Mrs. C. A. Litchfield, Treasurer; Carrie E. Mil- 
ler, Auditor; Mrs. Augusta Doyle, Librarian; 
Martha Robinson, Mrs. Rena Lidstone and Mrs. 
A. W. Fowles, Directors. 


Elizabeth Litchfield served as presi- 
dent for two years, and has been 
treasurer since that time. The chief 


294 


ELIZABETH LITCHFIELD, FIRST PRESIDENT OF THE 
PHILHARMONIC CLUB, LEWISTON. PHOTO BY HAN- 
SON, PORTLAND. 


objects of the club are to develope and 
encourage talent among local musi- 
cians, especially the younger ones, and 
to arrange occasional concerts in order 
to bring artists to Lewiston, who would 
not otherwise be heard there. 

The club grew so rapidly during the 
first year of its existence as the Phil- 
harmonic Club that in the second sea- 
son, being obliged to secure larger 
quarters, it took over the rooms once 
used by the Waseca Club of Auburn 
—a men’s club which had disbanded 
after the war broke out —and fitted 
them up as a meeting place and a 
studio in which to hold its recitals. 

The officers of the Philharmonic 
Club of Auburn-Lewiston, for the sea- 
son of 1927-1928, were: 

President, Mrs. Henri Crosby; Vice President, 
Mrs. Samuel Cobb; Secretary, Mrs. Charles 


Starbird; Treasurer, Elizabeth Litchfield; Cor- 
responding Secretary, Florence Judkins; Libra- 


MUSIC AND MUSICIANS OF MAINE 


rian, Helen Watson; Auditor, Mrs. A. V. Raw- 
stron; ‘Directors, Mrs. Seldon Crafts, Mrs. 5. 
Merritt Farnum and Mrs. Oscar W. Jones. 


The active members of the Phil- 
harmonic Club in 1927-1928 were: 


Mrs. Willis M. Abbott, Isabelle Allen, Mrs. 
William Allen, Mrs. Harold Arris, Annie L. Barr, 
Christabel Beaubier, Blanche Belleau, Eglantine 
Belleau, Mrs. N. W. Benner, Exilia Blouin, Ena 
Bolduc, Mrs. E. M. Briggs, Gertrude Burke, 
Diane Cailler, Mrs. Carroll Campbell, Yvette 
Cassista, Berdina Channell, Isabelle I. Chute, 
Mrs. Franklin Clark, Mrs, Samuel T. Cobb, Mrs. 
John Coburn, Helen Conant, Mrs. Seldon T. 
Crafts, Mrs. Mildred M. Crossman, Mrs. Frank 
M. Cummings, Ida Cummings, Mrs. John Cur- 
rie, Claire Dostie, Mrs. Annie B. Douglas, Mrs. 
Mellen T. Downing, Mrs. Augusta Doyle, Mrs. 
Julian Ellis, Mrs. William E. Emerson, Mrs. 
George Emmons, Audrey Estes, Mrs. S. Merritt 
Farnum, Mrs. Vernon Faunce, Alice Flood, Mrs. 
Harold Foss, Mrs. A. W. Fowles, Irma May 
Francis, Mrs. N. G. French, Mrs. J. R. Gilman, 
Mrs. Warren Gledhill, Mrs. Isaac Goodkowsky, 
Mrs. E. L. Goss, Mrs. E. H. Grant, Mrs. E. D. 
Greenleaf, Mrs. Nellie Greenleaf, Alice Halle- 
well, Mrs. Jacob B. Ham, Mrs. Ralph G. Has- 
kell, Cora Heath, Effie Heath, Mrs. Fannie Heth, 
Lilla Howard, Maude Huskins, Alice Jones, Mil- 
dred Jordan, Florence Judkins, Mrs. Albert L. 
Kavanaugh, Mrs. Joseph Keene, Mrs. A. J. 
Kroon, Mrs. Hazel Langdon, Mrs. Eugene Lang- 
elier, Mrs. Pauline Roberts Lawrence, Mrs. C. A. 
Litchfield, Elizabeth Litchfield, Mrs. J. H. Litch- 
field, Mrs. Norman Litchfield, Eliza Lowell, Mrs. 
F. E. Ludden, Mrs. William Ludden, Grace Lunt, 
Mrs. Ray Lydston, Katheryn Lynch, Mrs. R. 
Crawford Mcllroy, Elizabeth McKenna, Mrs. 
Matthew McKinney, Carrie E. Miller, Harriet 
Moody, Mrs. Frank A. Morey, Eunice Moulton, 
Mrs. L. E. Moulton, Mrs. Ezra Nevens, Mrs. 
John Ness, E. Belle Oakes, Mrs. E. E. Parker, 
Mrs. Edward H. Parsons, Mrs. Milo Pearson, 
Mrs. A. F. Pierce, Hazel Penley, Mrs. E. L. 
Pennell, Mrs. E. H. Perry, Mrs. Charles Phillips, 
Mrs. W. G. Phillips, Mrs. George Phinney, Mrs. 
E. S. Pitcher, Mrs. F. E. Pomeroy, Mrs. W. F. 
Robbins, Mrs. C. A. Robinson, Hazel Robinson, 
Mrs. Ada Rollins, Hannah Scott, Mrs. Hazel 
Scott, Angeline Simard, Mrs. H. R. Skillings, 
Mrs. Alice J. Skolfield, Mrs. Fred Smith, Lillian 
Soule, Mrs. Guy L. Spear, Mrs. Harry Staples, 
Ruth Staples, Angie Starbird, Mrs. Charles Star- 
bird, Louise Temple, Mrs. C. H. Thompson, 
Anna Tighe, Elizabeth Tighe, Edris Turgeon, 
Mrs. F. E. Wagg, Mrs. Fred W. Walker, Mrs. 
Edward Walton, Mrs. Fred O. Watson, Helen E. 
Watson, Mrs. Charles C. Webber, Mrs. Grace 


MUSIC OF THE STATE OF MAINE 1897-1928 295 


Webber, Mrs. Ralph W. Webster, Mrs. Frank 
Wellman, Carrie West, Jessie West, Mrs. Gladys 
C. White, Mrs. D. W. Wiggin, Mrs. Dana S. 
Williams, Anne Wiseman, Virginia Woodbury, 
Pauline Yeaton, Della Young. 


The Honorary Members were: 


Mrs. Charles Bartlett, Mrs. E. H. Carritt, 
Mrs. D. D. Coombs, Mrs. William Emerson, 
Mrs, Virginia Miller French, Mrs. Gertrude May 
Goss, Mrs. Mabel Johnson Harris, Mrs. Harriet 
Hill, Mrs. L. Roland Jones, Lucy Lane, Mrs. 
Martha Low, Eleanor Sands, Mrs. Ethel Gould 
Steele, Helen Winslow and Hazel Woodbury. 


These have served as presidents of 
the society since it became known as 


the Philharmonic Club: 


Elizabeth Litchfield, 1917-20; Mrs. Bernard 
A. Chase, 1920-21; Mrs. Samuel T. Cobb, 1921- 
22; Mrs. Frank L. Wellman, 1922-23; Mrs. 
J. H. Litchfield, 1923-24; Mrs. Charles A. Litch- 
field, 1924-25; Mrs. S. Merritt Farnum, 1925- 
26; Mrs. E. W. Walton, 1926-27; Mrs. Henri 
Crosby, 1927-28. 

At the annual meeting of the Phil- 
harmonic Club, held in May, 1928, the 
following were elected officers of the 
society for 1928-1929: 

President, Mrs. Samuel T. Cobb of Auburn; 
First Vice President, Mrs. Albert L. Kavanaugh 
of Lewiston; Second Vice President, Mrs. Seldon 
T. Crafts of Lewiston; Treasurer, Elizabeth 
Litchfield of Lewiston; Secretary, Mrs. Charles 
M. Starbird of Auburn; Librarian, Helen Wat- 
son of Auburn; Auditor, Mrs. Albert Rawstron 


of Lewiston; Director for three years, Mrs. 
Henri S. Crosby of Auburn. 


The Lewiston and Auburn Oratorio 


Society was organized in ,the fall of 
1927 for the purpose of reviving an 
interest in the music of the great ora- 
torios. At Christmas time, in that 
year, it produced “The Messiah” with 
a chorus of seventy-five voices, under 
the direction of Seldon T. Crafts, its 
founder and conductor. 

Following were the officers of the 
Lewiston and Auburn Oratorio Chorus 
in 1927-1928: 

President, Albert L. Kavanaugh; Vice Presi- 
dent, Avard L. Richan; Secretary, Edith Wood- 
ard; Treasurer, John G. West; Pianist, Helen E. 


Watson; Organist, Mrs. E. L. Goss; Director of 
Chorus, Seldon T. Crafts. 


The Foyer Musical 


The Foyer Musical of Lewiston, 
founded by Blanche Belleau, Novem- 
ber 20, 1920, is composed solely of 
women, with its principal object to 
develop the literary and musical tal- 
ents of its members. Its meetings are 
held monthly. Mrs. A. Jacques is 
choral director, Mrs. Eugene Langelier 
is the conductor of the orchestra and 
Charlotte Michaud is the instructor of 
dancing. Public entertainments are 
given each year on the anniversary of 
its organization. 

The officers in 1928 were: | 


Mrs. Louis Provost, President; Mrs. J. O. Be- 
langer, Honorary President; Mrs. E. Langelier, 
Vice President; Alice Richer, Secretary; Aliette 
Guertin, Assistant Secretary; Regina Marcotte, 
Treasurer; Bernadette Dumont, Assistant Treas- 
urer; Charlotte Michaud, Corresponding Secre- 
tary; Adrienne Beliveau, Librarian. 

Directors for three years: Mrs, J. O. Belanger, 
Marie Gauvin and Laura Collet; for two years, 
Mrs. Z. Dube and Mrs. Frank Landry; for one 
veal, wvits...). By ot. Pierre and ‘Mrs..J)/-P. 
Chevalier. 

The society has upwards of one hun- 


dred and fifty members. 


L’Orpheon, Lewiston 

L’Orpheon singing society was found- 
ed November I0, 1912, by Pierre Per- 
rault of Auburn. Dr. L. Raoul La- 
fond has been its president and Al- 
phonse Cote, organist at St. Louis’ 
Church of Auburn, has been its musi- 
cal director for the greater part of the 
time since its beginning. The Or- 
pheon has given a series of annual 
concerts in Lewiston at which have 
appeared some of the leading artists 
of the country and has been one of 
the greatest factors for development 
of music appreciation among the French 
people in Central Maine. In more 
recent years it has presented ambi- 
tious productions of opera, one of the 


‘most notable of which was that of 


“Romeo and Juliette” with Mildred 


296 MUSIC AND MUSICIANS OF Mata 


D. Litchfield and Alphonse W. Cote 
in the title roles, supported by a chor- 
us of sixty and an orchestra of twenty 
performers. Among those who have ap- 
peared as principals in these operatic 
presentations in recent years have been: 

Juliette Bernard, Clarisse Grondin, Alex Le- 
mieux, Olivier Pelletier, Dr. L. R. Lafond, Jo- 
seph Caouette, Adelard Roy, Rosario Tremblay, 
Napoleon Sansoucy, Elie Langelier, Mrs. Anna 
Deshaies, Rhea Couillard, Jean Couture, Charles 
Theberge. 


Seldon T. Crafts and Arthur Bru- 
nelle have been among those who have 
been musical directors of the society. 
Yvonne Reny has been its accompan- 
ist and George Filteau its artistic di- 
rector. L’Orpheon has to its credit 
the presentation of some of the most 
artistic performances ever given in 
amateur opera in Maine. 

The officers of L’Orpheon in 1925 


Were: 

President, Dr. L. Raoul Lafond; Vice Presi- 
dent, Joseph Caouette; Musical Director, Al- 
phonse W. Cote; Assistant Director, J. N. San- 
soucy; Secretary, Rosario Tremblay; Assistant 
Secretary, Lucien Giguere; Treasurer, George 
Berube; Assistant Treasurer, Elie Langelier; Di- 
rectors, Adelard Roy, Arthur Jalbert and Ed- 


mond Cote. 

Before the days of L’Orpheon there 
was an unnamed musical aggregation 
which for nearly ten years presented 
light operas with casts of amateurs 
made up from the French speaking 
people of Lewiston and Auburn. 
George Filteau was its leading spirit. 
Among the operas which they gave be- 
tween the years 1896 and 1922 were 
“The Chimes of Normandy,” “The 
Mascot,” “The Drum Major,” “Oli- 
vette,” “Fra Diavolo” and “Faust.” 
It was said of these productions that 
“they were as good as could be done 
by amateurs.” 


Lewiston-Auburn Symphony 
. Orchestra 
Roger W. MacGibbon of Auburn 
may be said to have been the father 


of the Lewiston-Auburn Symphony 
Orchestra, for it was he who conceived 
the idea of organizing such an associa- 
tion of representative musicians of 
Lewiston and Auburn to improve the 
musical standards in orchestral music 
in these two cities. The first meetings 
were held in the fall of 1924. An or- 
ganization was perfected with Fred I. 
Bumpus of Auburn as President; Ar- 
thur N. Pettengill of Lewiston, Vice 
President; Harry Rubinoff, Auburn, 
Secretary; Roger W. MacGibbon, Au- 
burn, Treasurer; Isaac Martin, Lew- 
iston, Business Manager. 

Wilfred Tremblay of Lewiston was 
its first conductor and coached the or- 
ganization for its first concert which 
it presented under his direction in the 
Lewiston City Hall on the evening of 
January 24, 1925. On Mr. Trem- 
blay’s resignation, shortly after the 
first concert, Josafa Morin of Lewis- 
ton became the conductor and he was 
succeeded by Arthur N. Pettengill who 
has been the director of the orchestra 
since the winter of 1926-27. 

Following were the regular members 
of the Lewiston-Auburn Symphony 
Orchestra in 1928: 

Conductor — Arthur N. Pettengill; First Vto- 
lins — Romeo Collet, Concert Master; Harry 
Baron, Robert Bloom, John Cloutier, Earl E. 
Goodrich, Harvey Grant, Hector F. Richards, 
Maurice Shiffer, Charles Siegel, Anna Tighe, 
Louis Walleroff; Second Violins—Margret Boise, 
Kenneth Chase, Ella Day, Rita Garneau, Lin- 
dell Jordan, Maurice Jordan, Helen McGilvery, 
Reginald Ouelette, Dorothy Parks, Walter Sar- 
gent, Richard Simmons, Edwin Trafton; Viola — 
H. L. Emery; Cellos — Ethel F. King, Mrs. Ma- 
bel Martin, John Scruton, Elizabeth Tighe; 
Basses — Beatrice Libby, Harry Milliken, El- 
liott Sturtevant; Flutes — Donald Ham, R. W. 
MacGibbon, Jennie Morse; Oboe—Edmond Mar- 
tin; Clarinets — Gordon Gilbert, R. H. Newton; 
Bassoon—Roger Saucier; Horns—Wilfred ‘Gar- 
neau, Stanley Larocque, Herbert White; Trum- 
pets — Peter Pelletier, Erwin Rafnell; Trom- 


bones — Lucien Fournier, Mr. Gale; Drums — 
Clifton Shea. 


Oe ee ee ee ee 


MUSIC OF THE STATE OF MAINE 1897-1928 


At the concerts the practice orches- 
tra is augmented by the following mu- 
sicians: 

Viola—Allen Winslow; Basses—Harry Deihl, 


Ralph Tuttle, Maurice Wade; Harp—F. S. 
McPherson; Timpani — L. V. Plummer. 


Parker Glee Club, Lewiston 


The Parker Glee Club of Lewiston, 
one of the younger men’s singing or- 
ganizations in the State, was com- 
posed, originally, of thirty of the best 
trained men vocalists in Lewiston and 
Auburn. In 1927 it took part in the 
contest of New England Glee Clubs at 
Portland and aroused enthusiasm with 
their artistic work. Allen H. Winslow 
was the conductor of the club in 1928 
and among its members were: 


Dr. Henry Sprince, Herbert A. Gatchell, Er- 
lon M. Dunlap, Olin B. Kemmerer, Warren F. 
Wardle, Edward F. Deihl, Adelarde P. Roy, 
Alexander Lemieux, Alphonse W. Cote, Dr. John 
P. Stanley, George W. Horne, Lionel Marcoux, 
Lucien D. French, Harold B. Libby, Fred A. 
Cluff, Albert R. Prince and Julian F. Ellis. 


Its officers were: 


Elvert E. Parker, President; Dr. Samuel E. 
Sawyer, Vice President; Charles L. Abbott, 
Pianist and Secretary; Willis P. Atwood, Treas- 
urer. 


Lewiston and Auburn Choirs 


Organists in the churches of Lewis- 
ton and Auburn have been: 


Mary F. Angell, Frank M. Bailey, Grace W. 
Barker, Mrs. Daniel A. Barrell, Nellie Bartlett, 
J. O. Belanger, Mavorette E. Blackmer, George 
A. Bower, Evelyn Brown, Homer C. Bryant, 
Abbie A. Buckley, Frank L. Callahan, Roscoe 
Catland, Gladys Chadbourne, Harold E. Chan- 
nell, Bertha Chase, C. C. Chase, Sadie Clark, 
Laura Cobb, Helen A. Conant, Mrs. Edith 
Coolidge, Alphonse W. Cote, Seldon T. Crafts, 
Isabelle Cummings, Christine W. Currier, Mrs. 
G. W. Cushing, Leo C. Demack, Margaret Flan- 
nagan, Esther Rogers Freeman, George G. Gi- 
-boin, Mary Gifford, Mrs. Cecilia C. Goss, John 
Goss, E. W. Hanscom, Mae F. Haskell, Edith 
H. Hayes, William C. Hodgman, Mrs. Annie M. 
Jefferson, Lizzie Jones, Mrs. Adelaide McFar- 
land Marston, George E. Merrill, Mrs. George 
E. Merrill, Lillian Merrill, Ellen M. Moseley, 


297 


Hazel B. Penley, Arthur N. Pettengill, Mamie 
Pilotte, Edith F. Prescott, Evangeline Pulsifer, 
Helen Rackliff, Harry Wilder Ranks, Harriet G. 
Ridley, Harry E. Rodgers, Mary E. Rowbotham, 
Dana Rowe, Emile Roy, Henry F. Roy, Fred N. 
Shackley, Mrs. A. J. Skolfield, Elizabeth Smith, 
Angie S. Starbird, O. D. Stinchfield, Wilfrid 
Tremblay, Lisle B. Vanner, Margaret E. Walsh, 
Laura Webster, Florence Annette Wells, Clara 
Russell Wheeler, Mrs. Gladys White, Frank T. 
Wingate, Helen M. Winslow. 


Fred N. Shackley and E. W. Hans- 
com were both composers of church 
music. Mr. Hanscom was a leading 
figure in musical circles for half a cen- 
tury, in Auburn, where he was organ- 
ist at the High Street Congregational 
Church for twenty-five of these years. 
Mr. Shackley, who studied with Ho- 
mer Norris, was, for some time, organ- 
ist of the Church of the Ascension of 
Boston. Leo C. Demack was for a 
considerable period organist at St. 
Peter’s Episcopal Church, Beverly, 
Massachusetts. 

Brief accounts of a number of these 
organists, who were living in 1927, 
some of whom have played in the 
churches of Auburn and Lewiston for 
more than twenty-five years, will be 
found in another part of this volume. 

Among those who have been promi- 
nent in the Lewiston and Auburn 
choirs were: 

Mamie Atchison, R. E. Atwood, W. P. Atwood, 
Lillian Bearce, William Bennett, Mrs. Bessie 
Bewley, Mrs. Louise Bitter, Exilia Blouin, L. T. 
Chabot, Benjamin Chandler, Lottie F. Clark, 
Fred Clough, W. H. Cook, Mrs. Martha Lufkin 
Coombs, Mrs. Alice C. Crafts, Annie Curran, 
Jennie M. Danforth, Francena Day, Mrs. D. A. 
Doyle, George Drake, Elizabeth R. Dunn, Mrs. 
Grace C. Ellis, Mrs. Susie Jewett Folsam, Mrs. 
Eva Foster, A. W. Fowles, Mark A. Gatchell, 
L. N. Gendreau, Edwin L. Goss, George Goss, 
Charles Greenleaf, Fannie Hersey, Emily Hill, 
Ada Holding, George W. Horne, Lilla Howard, 
G. Allen Howe, Ralph Thurston Howe, G. Edlon 
Jones, Oscar W. Jones, Flavel R. Jordan, A. L. 
Kavanaugh, Lucy Lane, Mrs. Charles A. Litch- 
field, Mildred Litchfield, Mrs. Minnie Goss 
Litchfield, W. L. Lothrop, Mrs. Grace McKen- 
ney, Mrs. Maud Teel McMurray, Ida Metcalf, 


298 MUSIC AND MUSICIANS OF MAINE 


Mrs. Bertha K. Miller, Carrie E. Miller, Har- 
riette A. Moody, Mrs. Maud Morey, N. L. 
Mower, Mrs. Florence Campbell Nevens, Wil- 
lard A. Noyes, E. E. Parker, G. L. Parker, 
Mary Pottle, A. R. Prince, John L. Reade, 
G. M. Robinson, John Rowbotham, Dana W. 
Rowe, Mrs. Henry F. Roy, Lincoln Roys, 
Eleanor P. Sands, J. N. Sancoucey, E. F. Scru- 
ton, Mrs. E. F. Scruton, Mrs. Emily Hill Shack- 
ford, Mrs. Helen Nash Sleeper, Louis E. Smith, 
Dr. J. P. Stanley, Mabel Starbird, Thomas 
Steele, William B. Stevens, Mrs. Guy Spear, 
Mrs. E. S. Stackpole, Mrs. I. E. Sylvester, H. E. 
Teel, Winnie Thompson, Mrs. Gladys Rogers 
Walker, Margaret E. Walsh, Reginald Ware, 
Helen Watson, Fred. J. Whitcher, E. A. Willard, 
H. E. Winslow, Ralph Winslow, Minnie Wyman. 


Harmony Club, Lincoln ° 


The Harmony Club of Lincoln was 
organized December 22, 1922. As 
stated in the by-laws “the object of 
the club shall be to foster and pro- 
mote music and musical interest in the 
community.” 

Its first officers were: 


President, Mrs. Paul Bray; Vice President, 
Mary Buzzell; Recording Secretary, Millicent 
Larrabee; Corresponding Secretary, Mrs. Joseph 
Thomas; Treasurer, Helen Linton. 


Following were the officers of the 
Harmony Club of Lincoln in 1928: 


President, Mrs. Glenroy Brown; Vice Presi- 
dent, Mrs. Ella Burr; Recording Secretary, Mrs. 
Madeline Aldrich; Corresponding Secretary, Mrs. 
Mildred McKenzie; Treasurer, Mrs. Margaret 
Osborne. 


Active members in 1928 were: 


Mrs. Mildred Annis, Mrs. Madeline Aldrich, 
Mrs. Glenroy Brown, Mrs. Ella Burr, Mary 
Buzzell, Norma Buzzell, Mrs. Adella Clay, Mrs. 
Bessie Deering, Mrs. Mina Goodwin, Mrs. Ruth 
King, Mrs. Mildred McKenzie, Donna Nelson, 
Mrs. Hortense Noel, Mrs. Margaret Osborne, 
Mrs. Mabel Robbins, Elaine Rossnagel, Jessie 
Smith, Mrs. Dorothy Stevens, Dorothy Turner, 
Mrs. Mona Weatherbee. Honorary member, 
Mrs. Lucile Libby. 

Instrumentation of the Harmony 
Club Orchestra was: 

First Violin — Mrs. Glenroy Brown; Second 
Violins — Mary Buzzell, Jessie Smith; Mando- 
lins — Norma Buzzell, Mrs. Mina Goodwin; 


Accompanists — Mrs. Margaret Osborne, Mrs. 
Mabel Robbins. 


Past presidents have been: 
Mrs. Irene Bray, Mary Buzzell, Mrs. Mabel 
Porter, Mrs. Glenroy Brown. 


Philharmonic Club, Mulinocket 


The Philharmonic Club of Mi£illi- 
nocket was organized in January, 1920. 
Its first officers were President, Mrs. 
F. Allison Currier; Vice President, 
Mrs. Jennie Walker; Secretary, Mrs. 
Grace Monahan; Treasurer, Mrs. Mary 
Frost, and its objects were to promote 
musical culture by the study of noted 
composers and the rendering of their 
musical works. 

Following have been the presidents 
of the Philharmonic Club since its 
beginning: 

Mrs. F. Allison Currier, 1920-21; Mrs. Jennie 
McKay Walker, 1921-22; Mrs. Louise F. Jack- 
son, 1922-23; Mrs. Mae Weeks Hinton, 1923-24; 
Mrs. Thora Giorloff Stanwood, 1924-25; Mrs. 
Annie Jones MacKay, 1925-26; Mrs. Margaret 
Mitchell MacMullen, 1926-27. 

The members of the society in 1928 
were; 

Margaret Booker, Mrs. Laura M. Bruce, M. 
Rosamond Burr, Mrs. Alice H. Campbell, Marion 
L. Conant, Mrs. Emma G. Corrigan, Mrs. Jo- 
sepha V. Evans, Mrs. Mary B. Frost, Mrs. Ellie 
M. Gonya, Mrs. Helen A. Hathaway, Mrs. Mae 
W. Hinton, Mrs. Glenda R. Hoy, Mrs. Louise 
F. Jackson, Mrs. Gertrude H. Jenkins, Mrs. An- 
nie J. MacKay, Mrs. Margaret M. MacMullen, 
R. Ella McGrath, Mrs. Nora C. Ripley, Mrs. 
Thora G. Stanwood, Mrs. Margaret A. Stone, 
Mrs. Ida M. Thompson, Mrs. Grace L. Trott, 
Mrs. Jennie M. Walker. 

Among former members were: 

Ethel Lee, Mrs. Lulu Monty and Mrs. Mollie 
Rowe. 

The officers in 1928 were President, Mrs. Alice 
Campbell; Vice President, Mrs. Grace Trott; 


Secretary, Mrs.. Josepha Evans: Treasurer, Mrs. 
Glenda Hoy. 


Clef Club, Presque Isle 

The primary object for which the 
Clef Club of Presque Isle, Maine, was 
organized (January 11, 1923) was for 
the promotion of intensive study of 
music among its members and the 
furtherance of musical activity in the 
community. 


MUSIC OF THE STATE OF MAINE 1897-1928 


299 


Its first officers were: 


President, Elizabeth Haynes (Mrs. Harold 
Sands); Vice President, Mrs. Ira B. Hull; Sec- 
retary-Treasurer, Mrs. Storer Boone. 

In 1924 the study course prescribed 
by the National Federation of Music 
Clubs was begun and was continued 
during the four years following. 

Soon after the organization of the 
Clef Club, through its efforts, the Ly- 
ric Club of Caribou and the Nordica 
Club of Fort Fairfield were organized, 
with the design to hold music festivals, 
which should be to Aroostook County 
what the Portland and Bangor Festi- 
vals have been to the State. In June, 
1925, the ambition of the combined 
clubs was realized and the first festival 
was held at Littleton, Maine, under 
the direction of Dr. William R. Chap- 
man. In this festival the music clubs 
of Houlton, Fort Fairfield, Caribou 
and Presque Isle participated. Since 
1925 the festival has been an annual 
event and new clubs have been added 
to the chorus. These festivals have 
not only brought to Aroostook County 
some of the finest artists in America, 
but they have been the means of at- 
tracting a strong chorus and of furnish- 
ing an incentive for the development 
of boys’ bands throughout the county. 
The Clef Club is a member of both 
the state and national federations of 
music clubs. 

The officers of the Clef Club of 
Presque Isle for the season of 1927- 
1928 were: 

President, Mrs. Zoe Lenfest; Vice President, 
Mrs. Margaret Stevens; Secretary, Augusta Kal- 
loch; Treasurer, Mildred Colwell; 
and other members in this year were: 


Virginia Ames, Mrs. Alyre J. Arsenault, Mrs. 
Storer Boone, Mildred Colwell, Mrs. Sidney 
Cook, Mrs. Roy Craig, Mrs. Lindley Dobson, 
Mrs. Wilmot Dow, Mrs. Fred Drew, Ida Fol- 
sam, Marjorie Hanson, Miriam Hayward, Mrs. 
Lawrence Hedrich, Augusta Kalloch, Alice Kim- 
ball, Mrs. George P. Larrabee, Mrs. I. R. Len- 
fest, Mrs. E. W. Loane, Mrs. Philip Magill, Mrs. 


MRS. HAROLD SANDS (ELIZABETH HAYNES), FIRST 
PRESIDENT OF THE CLEF CLUB OF PRESQUE ISLE 
(1923). PHOTO BY CHIDNOFF, NEW YORK. 


George Margison, Mrs. Malcolm McIntire, Mrs. 
Perley Mitchell, Mrs. S. E. Preble, Lydia Ryan, 
Mrs. Harold Sands, Mrs. Earl Schoolcraft, Lydia 
Smith, Mrs. F. P. Stevens, Mrs. John Stevens, 
Mrs. E. I. Waddell, Marjorie Waddell and Mrs. 
John Willett; 

and the honorary members were: 


Mrs. E. W. Fernald, Mrs. H. B. Forbes, Mrs. 
Belford Kellam, Lucinda Marston, Mrs. A. C. 
Perry and Mrs. D. A. Stevens. 


Wight Philharmonic Club, Rockland 


In the beginning of the year 1893 
an antiquarian concert was arranged 
by an entertainment committee of the 
Y. M. C. A. of Rockland in an en- 
deavor to cancel an indebtedness of 
that organization. Those who partici- 
pated, believing that both profit and 
enjoyment could be had from continu- 
ing a chorus of this nature, decided 
to make it a permanent organization. 

From this sprang the Wight Phil- 
harmonic Club which at first was 


300 


known by the more abbreviated title, 
the Philharmonic Club, and which was 
organized as a going society in Febru- 
ary, 1893. James Wight was its con- 
ductor and Mrs. Wight was pianist. 

The society was among the first to 
join the Maine Festival Chorus, but 
though in its first year the club united 
with the Bangor Chorus for the Festi- 
val, because of the fact that that city 
was less easily accessible, its members 
afterwards sang at the Portland con- 
certs. Besides its work with the an- 
nual festival the Wight Philharmonic 
Club has given a number of concerts 
on its own account, all of which have 
been of high order. 

James Wight, the founder and di- 
rector of the Wight Philharmonic 
Club, was born in Lowell, Mass., in 
1830. He inherited a very strong love 
for music. He joined the Lowell brass 
band at twenty years of age. When 
twenty-two he led a band in Auburn 
and soon after organized Wight’s Band 
in Lewiston. In 1860 he went to Rock- 
land to become leader of the Rockland 
Band. He rehearsed the singers of 
the Knox and Lincoln Musical Asso- 
ciation for the Peace Jubilee. Mr. 
Wight was choir director of the Con- 
gregational Church, Rockland, for 
twenty-five years, conductor of the 
Rockland Choral Association and for 
more than twenty years conducted the 
Wight Philharmonic Club in Rock- 
land. He composed a number of band 
marches among which were “Our 
Guiding Star,” “Twentieth Century 
March” and the “Festival March.” 
He died in New York City in May, 
1924. 

The choir of the Congregational 
Church in Rockland, the members of 
which were Mary F. Fuller, soprano; 
Julia Spear, alto; James Wight, tenor; 
and E. A. Burpee, bass; with Carrie 
Burpee as organist, was in existence 


MUSIC AND MUSICIANS OF MAINE 


for the longest period of time of any 
choir in Knox County. Mrs. Wight 
succeeded Miss Burpee at the organ 
and on the retirement of Mr. Burpee, 
George Torrey became the bass and 
sang in the choir until it disbanded. 
Clara Furbish followed Miss Fuller in 
the soprano part, and the choir, with 
these singers, acquired a reputation 
that spread beyond the confines of the 
county. 

Among the best known teachers that 
Rockland has had were Mary Bird, 
who afterwards became Mrs. Charles 
D. Wood of Vancouver, Washington; 
Florence Starr, who married James D. 
Ronimus of Brookline; Mary Ella 
Morse (Mrs. Thomas H. Potter) of 
Denver, Colorado; Frederick R. Sweet- 
ser, who came from Searsport; A. T. 
Crockett, a native of Rockland, who 
taught violin, piano and organ; Mrs. 
Louise Furbish; Mrs. James Wight, 
née Emma Burpee; Mrs. Carrie Bur- 
pee Shaw; Mrs. Maria Tibbetts Bird. 

The Burpee and Shaw families have 
furnished church choirs, clubs and all 
the leading musical organizations in 
Rockland with some of their most 
valued members. 

Among the names of those who have 
sung in the Methodist Church, Rock- 
land, at different times were: 

N. A. Burpee and Mrs. Burpee, Florence Starr, 
Simeon Partridge, Dean Stabler, George Hop- 
kins, Converse Collins, Chandler Tibbetts, C. C. 
Chandler, Horace Perry, Dr. H. C. Evans and 
Mrs. Evans, Aaron Howes, Oscar Kalloch and 
Mrs. Kalloch, Albert Smith, Mrs. Rose Gould, 
Mrs. M. E. Thurlow, Aldana Crocker, Marie 
and Helen Johnson, Judith Ulmer and her sis- 
ter, Mrs. Achorn, Mrs. William Farrow, Mrs. 
Esther B. Carleton, Belle Raymond, Mrs. Sam- 
uel Veazie, Edna Hall; while among the organ- 
ists of this church have been Mrs. James Wight, 


Mrs. Carrie Burpee Shaw, Mary Ella Morse Pot- 
ter and Mrs. Mary B. Littlehale. 


Rubinstein Club, Rockland 


In the year following that in which 
the Orpheus Club was organized, Hel- 


Meet OF THE STATE OF MAINE 1897-1928 301 


en Fletcher, a western girl, who had 
received excellent musical instruction 
in her home town, arrived in Rockland 
for an extended visit. While there, 
she organized a woman’s club for the 
study of vocal music. Her work was 
very successful and her pupils, togeth- 
er with those of Prof. Frederick R. 
Sweetser, gave many recitals. This 
club was known for a time as the 
Fletcher Club. After the departure of 
Miss Fletcher and Professor Sweetser 
for broader fields, it was decided to 
make a new start, and in the fall of 
1882 the old club, reinforced by new 
members, was re-organized, by-laws 
were made and adopted, the name of 
the club was changed to the Rubin- 
stein Club, and Mrs. F. E. Hitchcock 
was elected its first President. 

At first the place of meeting was at 
the homes of members, but, when the 
membership became so large that but 
few private residences could accom- 
modate the company, the meetings 
were held, during different seasons, 
at the Thorndike Hotel and at various 
halls. 

The charter members of'the Rubin- 
stein Club were: 

Mrs. Maria T. Bird, Mrs. Lillian S. Coping, 
Mrs, Cora Farwell, Mrs. Ella P. Grimes, Mrs. 
Emily C. Hitchcock, Mrs. Rosa W. Littlefield, 
Mrs. Ada B. Mills, Mrs. Lillian B. Mortland, 
Mrs. Annie B. Perry, Mrs. Carrie B. Shaw, Mrs. 
Clara L. Spear, Nancy T. Sleeper and Mrs. 
Emma E. Wight. 

For a number of years the Rubin- 
stein Club sang under the leadership 
of Mrs. Louise Furbish, a women of 
exquisite taste of whom it was said 
that, “She gave generously of her very 
best. Each member was a personal 
friend, and her cherished dream was 
that the Club should reach great mu- 
sical heights, each year surpassing the 
last. So long as the Club remains in 
existence so long will her memory re- 
main a choice part of our inheritance.” 


MRS. DORA JAMESON BIRD, PAST PRESIDENT OF THE 
RUBINSTEIN CLUB OF ROCKLAND, AND HER DAUGH- 
TER, NETTIE EVELYN (FROST), WHO FOUNDED THE 
HARMONY CLUB OF ROCKLAND, 1906. PHOTO BY 
HANSON, ROCKLAND, MADE AT ABOUT THAT TIME. 


Many ladies from Thomaston and 
Camden became members of the club, 
which throughout its existence has 
given special attention to choral work 
and has come to be one of the most 
flourishing in the State. 

The presidents in succession have 
been: 


Mrs. Emily C. Hitchcock, Mrs. Louise Fur- 
bish, Mrs. Agnes M. Pooler, Mrs. Lillian B. 
Mortland, Mrs. Dora F. Bird, Mrs. Kathleen S. 
Fuller, Mrs. Emily C. Hitchcock, Mrs. Grace 
Armstrong, Mrs. Helen L. Carr, Mrs. Leila B. 
French, Mrs. Maud S. Smith, Mrs. Myrtie B. 
Judkins, Mrs. Ada J. Blackington, Mrs. Emily 
W. Stevens, Mrs. Margaret G. Ruggles, Mrs. 
Lillian $. Copping, Mrs. Maryon W. Benner and 
Mrs. Faith G. Berry. 


The officers of the Rubinstein Club 
for 1927-28 were: 


President, Mrs. Faith G. Berry; Vice Presi- 
dent, Mrs. Lorita K. Bicknell; Secretary, Mabel 


302 MUSIC AND MUSICIANS OF MAINE 


F. Lamb; Treasurer, Mrs. Emily W. Stevens; 
Choral Directors, Mrs. Faith G. Berry, Mrs. 
Maryon W. Benner, Margaret G. Ruggles; Ac- 
companist, Mrs. Nettie B. Averill; Executive 
Board, Lillian Sprague Copping, Gladys St. Clair 
Morgan, ‘Elizabeth Donahue, Caro Littlefield 
and Dora Bird. 


Active members in this season in- 
cluded: 


Mrs. Nettie B. Averill, Mrs. Zulietta S. Ames, 
Mrs. Faith G. Berry, Mrs. Maryon W. Benner, 
Mrs. Lorita K. Bicknell, Mrs. Dora Jameson 
Bird, Celia Brault, Mrs. Edna T. Browne, Ma- 
belle S. Brown, Mrs. Rachel S. Browne, Ade- 
laide F. Cross, Elizabeth Donahue, Alice Ers- 
kine, Mrs. Ruth Ellingwood, Mrs. Kathleen Ful- 
ler, Alcada Hall, Elsa Hayden, Mrs. Ethel Hay- 
den, Mabel Holbrook, Mrs. Joyce Jones, Eliza- 
beth Knight, Mabel F. Lamb, Bertha Luce, 
Mrs. Kathleen Marston, Mrs. Gladys St. Clair 
Morgan, Mrs. Carleen B. Nutt, Mrs. Kathleen 
S. O’Hara, Mrs. Gertrude S. Parker, Beulah 
Rokes, Margaret G. Ruggles, Mrs. Hattie C. 
Snow, Margaret G. Stahl, Mrs. Emily W. Stev- 
ens, Mrs. Lydia T. Storer, Ruth Thomas, Mrs. 
Katherine F. Veazie and Mrs. Helen P. A. Went- 


worth. 

Among others who have been mem- 
bers were: 

Reta Calderwood, Mrs. Mae W. Cushing, Mrs. 
Damie R. Gardner, Margaret C. Harrington, 
Marion Knowlton, Mrs. Edith C. Pitcher, Mrs. 
Ruth E. Sanborn. 

At the 1928 annual meeting of the 
Rubinstein Club the following officers 
were elected for the year 1928-29: 


President, Mrs. Vivian Hewett; Vice Presi- 
dent, Mrs. Faith G. Berry; Secretary, Mrs. 
Gladys S. Morgan; Treasurer, Mrs. Emily 
Stevens; Executive Board, Mrs. Lillian $. Cop- 
ping, Mrs. Dora Bird, Mrs. Lorita Bicknell, 
Caroline Littlefield, Mrs. Maryon Benner, Ma- 
bel F. Lamb; Director, Mrs. Faith G. Berry; 
Accompanist, Mrs. Nettie Averill. 


Harmony Club, Rockland 


The Harmony Club of Rockland 
was formed in 1906 by Nettie Evelyn 
Bird, assisted by her mother, Mrs. 
Dora Jameson Bird, from a group of 
girls, then between the ages of twelve 
and fifteen years. 

The first officers were President, 
Nettie Bird, and Vice President, Eve- 


lyn Snow, and its charter members 
were: 
Ruth Blackington, Dorothy Bird, Madeline 


Burrows, Helen Cooper, Rose Davis, Loreta . 


Kenneston, Margaret Mayo, Marion Perry, 
Geneva Rose, Winnie Simmons, Katherine Spear, 
Helen Sullivan and Emily Webb. 

The Harmony Club was organized 
to serve aS an incentive to the study 
of music and present a musical pro- 
gram at its bi-weekly meetings. Since 
its beginning it has taken a prominent 
part in the social and musical activities 
of Rockland and has served as a pre- 
paratory club from which many have 
been chosen for membership in the 
Rubinstein Club. 

Among past members who came to 
be engaged in musical occupations or 
have become prominent in music in 
other cities have been Mrs. Ogarita 
Rose Rugg, soprano; Mrs. Helen 
Cooper Lord, composer and pianist; 
Mrs. Dorothy Bird George, a graduate 
of the New England Conservatory and 
prominent in church and concert work 
in Massachusetts; and Nettie Bird 
Frost, the founder of the club, who 
came to make her home in Lisbon, 
N. H. 

In 1928 the Harmony Club, which 
has become an active federated club, 
had a membership of thirty-three and 
its officers were: 

President, Alcada Hall; Vice President, Wini- 


fred Coughlin; Secretary, Helen Feeney; Treas- 
urer, Esther Fernald. 


In this year its active members were: 


Mary Bird, Helen Bird, Mabel Brown, Lorita 
Bicknell, Winifred Coughlin, Katherine Creigh- 
ton, Mildred Demmons, Leah Davis, Ellen Fer- 
nald, Esther Fernald, Helen Feeney, Alcada 
Hall, Margaret Johnson, Lillian Joyce, Alberta 
Knight, Elizabeth Knight, Alena Knight, Ruth 
Koster, Ruth Lawrence, Madeline Lawrence, 
Kathleen Marston, Carleen Nutt, Vora Nye, 
Mary Pratt, Lucy Rankin, Beulah Rokes, Nata- 
lie Snow, Esther Stevenson, Clara Thomas, Vir- 
ginia Winchenbaugh. ~ 


In 1926 a Junior Harmony Club, 


ee eS a, ee ee a 


MUSIC OF THE STATE OF MAINE 1897-1928 303 


sponsored by the Senior Club, was 
formed. The officers of the Junior 
Club were: 


President, Thelma Blackington; Vice Presi- 
dent, John Moulaison; Secretary, Virginia Rich- 
ardson; Recording Secretary, Hugh Benner; 
Treasurer, Margaret Thomas; Directors from 
the Harmony Club, history, Mrs. Lucy Rankin, 
program, Mrs. Leola Noyes. 


Beethoven Club, Rockland 


The Beethoven Club of Rockland, 
which existed about 1899 to 1903, had 
a membership of eight women, all of 
whom were lovers of Beethoven’s mu- 
sic. Mrs. Maria T. Bird was the 
founder and its first President and 
Mrs. Maude Simpson its Secretary- 
Treasurer. 

Musical matinees were arranged by 
its members, from the proceeds of 
which a fine sepia portrait of Beetho- 
ven was secured and hung in the Rock- 
land Public Library and textbooks of 
considerable value were purchased for 
the musical department of the library. 
These were the charter members of 
the Beethoven Club of Rockand: 


Mrs. Maria Tibbetts Bird, President; Harriet 
M. Bird, Alice C. Erskine, Mabel Holbrook, 
Lillian Fales, Mrs. Dora F. Bird, Mrs. Maud 
Simpson Smith and Mrs. Caroline Blood (Reed). 


Sanford Men’s Singing Club 

The Sanford Men’s Singing Club of 
Sanford, Maine, was organized March 
16, 1919. Its first officers were: Pres- 
ident, John Greenwood; Vice Presi- 
dent, Joseph Leckenby; Secretary- 
Treasurer, Clyde L. Reed. 

Frank L. Rankin of Portland was 
the conductor of the club from its or- 
ganization. Among its past Presidents 
have been John Greenwood, F. Ev- 
erett Nutter and William M. Gray. 

This club was one of the two Maine 
Men’s Singing Clubs that participated 
in the competition of Glee Clubs at 
Quincy, Mass., in April, 1926. 

Among those who have been mem- 


bers of the Sanford Men’s Singing 
Club were: 

William S. Nutter, John Wilkenson, William 
Gray, Daniel Greenwood Jos. L. Guielmette and 
William Heffernan, First Tenors; Alfred Rous- 
sin, Herbert Barraclough, Samuel Briggs, Row- 
land Morgan, Kenneth Wiley, Earl Glidden and 
Homer Barraclough, Second Tenors; George 
Heaton, John Wright, F. Everett Nutter, Cleo- 
phas Roussin, Odelon Roussin, Fred J. Darvill, 
Dr. Louis P. Desjardiens and Dr. Joseph Brown, 
First Basses; Fred. Russell, Fred. Roberts, Rus- 
sell Goodall, Horace Eaton, George Hill, Herbert 
Colby and Walter E. Nutter, Second Basses. 


The officers in 1926 were William 
Gray, President; John Wright, Treas- 


urer; Walter E. Nutter, Secretary; 
Frank L. Rankin, Conductor. 


Euterpean Club, South Paris 


The Euterpean Club of South Paris 
was organized October 29, 1906. The 
first officers were President, Mrs. Cora 
Briggs; Secretary, Mrs. Edith Wheel- 
er; Treasurer, Mrs. Stella Burnham. 

Following were the officers of the 
Euterpean Club of South Paris in 
1928: 

President, Mrs. Edith Wheeler; Secretary, 
Mrs. Elsie Fleming; Treasurer, Mrs. Clara 
Mosher; Librarian, Mrs. Madge Gray. 

Other members in 1928 were: 

Mrs. Agnes Morton, Mrs. Josie Tetley, Mrs. 
Nellie Brickett, Mrs. Laura Shaw, Mrs, Stella 
Burnham, Mrs. Grace Fogg, Mrs. Bertha Ab- 
bott, Laura Brooks, Mrs. Bertha Clifford, Mrs. 
Helen Clifford, Mrs. Ruth Conant, Mrs. Beryl 
Farnham, Ruth Graves, Nellie Jackson, Mrs. 
Ida Neal, Mrs. Agnes Perkins, Mrs. Eva Titus, 
Emma West, Mrs. Bernice Wilson. 


Other members have been: 


Mrs. Elsie Barnes, Mrs. Laura Burke, Mrs. 
Gladys Davis, Mrs. Grace Dean Robinson, Mrs. 
Irma Fuller, Mrs. Anna Jacobs, Evelyn Wight, 
Mrs. Alta Wood. 


These have served as presidents of 
the Euterpean Club from 1906 to 1927: 

Mrs. Cora Briggs, Mrs. Madge Gray, Mrs. 
Edith Wheeler, Mrs. Nellie Brickett, Mrs. Ag- 
nes Morton, Mrs. Virgie Wilson, Mrs. Stella 
Burnham, Mrs. Harriet Barnes, Mrs. Luella 
Smiley, Hattie Leach, Nellie Jackson, Mrs. Ida 
Briggs, Mrs. Geneva Barrows, Grace Thayer, 


304. MUSIC AND MUSICIANS OF MAINE 


Ruth Graves, Mrs. Clara Mosher, Mrs, Eva 
Titus, Mrs. Bernice Wilson and ‘Mrs. Edith 
Wheeler. 


Somerset Choral Society 


The Somerset Choral Society was 
organized at Skowhegan, September 
30, 1896, as a unit of the Maine Festi- 
val Chorus. The first officers were: 


President, Harry F. Kimball; Vice President, 
Mrs. Ella C. Pooler; Secretary, Elizabeth A. 
Webb; Treasurer, Walter F. Robbins. 


Staff Club, Washburn 


The Staff Club of Washburn was 
organized December 15, 1925, “Io 
promote music in the community; to 
study music and to help promote a 
general interest in music.” 

Its officers in 1928 were: 


President, Evelyn T. Beck; First Vice Presi- 
dent, Violet F arrar; Second Vice President, Ethel 
Lancaster; Secretary, Marcella Gibson; Treas- 
urer, Annie Durepo; Director, Flora Wood- 
worth; Pianist, Carrie Adams; 
and its members included: 


Carrie Adams, Evelyn T. Beck, Eva Cheney, 
Marion Duncan, Annie Durepo, Violet F arrar, 
Ida Frank, Marcella Gibson, Ethel Lancaster, 
Emma Rediker, Mildred Sanders, Mary Umph- 
rey, Mae Wight, Flora Woodworth. 

Former members have been: 

Mrs. Floyd Christopher, Mrs. Margaret Crouse, 
Mrs. Bessie Duncan, Mrs. Victoria Wilder. 


Cecilia Club, Waterville 


The Cecilia Club of Waterville owed 
its existence to the persistent labors 
of Mrs. George F. Davies and Mrs. 
Frank B. Hubbard, who with seven- 
teen others organized the society on 
October 15, 1896. The officers elected 
were: 

W. C. Philbrook, President; Elwood T. Wy- 
man, Vice President; Mrs. George F. Davies, 
Secretary and Treasurer; Mrs. Frank B. Hub- 
bard, Ella Downer, Susie Fogarty, Mrs. J. H. 
Knox and Mrs. George A. Kennison, Directors. 

The club was small and heroic la- 
bors devolved upon its officers, yet 
such was its success that after joining 


the Maine Festival Chorus in January, 
1897, by careful training under Prof. 
George Pratt Maxim, it developed into 
a full chorus of eighty voices which 
gave two concerts and sang at the 
Bangor Festival in the fall of that 
year. Prof. Carlton B. Stetson served 
the club as president from 1898 until 
1902. 

Mrs. Hascall S. Hall (then Nellie 
Webber) was the first pianist. After 
her removal from the city Mrs. Frank- 
lin W. Johnson was elected and she 
gave three years of work. 

Mr. Maxim, who successfully con- 
ducted the Cecilia Club for three sea- 
sons, was succeeded by Llewellyn B. 
Cain and later by Dr. Latham True 
of Portland. 

The Cecilia Club gave its services 
to a number of patriotic endeavors 
and its singing was one of the features 
of the Waterville Centennial Celebra- 
tion. A great deal of strength was 
contributed to the club by its Fair- 
field members. 

Its officers in 1902 were: 

President, H. D. Bates; Vice President, Frank- 
lin W. Johnson; Secretary, Joseph T. Murray of 
Fairfield; Treasurer, Blanche Smith (after- 
wards Mrs. Frank W. Alden); Conductor, Dr. 
Latham True; Pianist, Mrs. Franklin W. John- 
son; Directors, Mrs. Frank B. Hubbard, Ella 
Downer, Mrs. George F. Davies, Elizabeth Con- — 


eae Fairfield and Mrs. Edbert Kelley of Fair- 
eld. 


For some time after 1902 H. L. 
Tappan was President; Cecil M. Dag- 
gett, Conductor; H. B. Black, Treas- 
urer. 

The Cecilia Club held a high place 
in the esteem of the people of the 
State. The officers of the club in 1922 
were: ? 

President, Mrs. F. E. Boothby; Vice Presi- 
dent, Rev. C. F. Robinson; Secretary, Mrs. 
Florence P. Libby; Treasurer, Mrs. E. M. Jep- 


son; Conductor, Harrison A. Smith; Pianist, 
Mrs. H. A. Smith. 


MUSIC OF THE STATE OF MAINE 1897-1928 305 


Waterville Symphony Orchestra 


The Waterville Symphony Orchestra 
was organized in 1919 by Max G. 
Cimbollek who has been its conductor 
since its beginning. It was the second 
symphony orchestra to be organized 
in the State, and its membership has 
always been composed largely of boys 
and girls of high school age. 

Following was the personnel and 
instrumentation of the Waterville Sym- 
phony Orchestra in 1928: 


Max Cimbollek, Conductor; Cecile LeGendre, 
Concert Master; Violins — Ellen Soule, Francis 
Gray, George Coughlin, Arthur Wein, Kenneth 
Proctor, Rita D’Nardi, Jamil Baraket, Arthur 
Ouilette, Helen Brown, Roland Rancourt, Dana 
Morin, Phylis Glazier, Felix Gondella, Lucile 
Blanchard, Bernadine Libby, Corrine Langlois, 
Irene Perreault, Cecil Daggett, Jr.; Violoncellos 
—Edith Langlois, Liane Rancourt, Barbara 
Johnson, Marion Lewis, Lucia Perreault; Viola 
— Leonard Helie; Cornets — Beth Haines, Rich- 
ard Johnson; Trombones — Henry McCracken, 
Hallett Foster, Harold Smith; Percussion — 
Robert Brann; assisted by George Pullen, Bass; 
Roland Lavelle, Clarinet; Bertha Arnold, Pianist. 


Westbrook Choral Union 


The Westbrook Choral Union was 
formed during the winter of 1921-22 
by Prof. Henry Litchfield, then of 
Portland, and gave one concert with 
a chorus of fifty voices, immediately 
after which its director went west, 
since when this society, which held out 
much promise, musically, has ceased 
to exist. 


Chopin Club, Westbrook 
The Chopin Club of Westbrook, the 


object of which was announced to be 
the mutual improvement of its mem- 
bers in music, was organized June 24, 
1919. ; 

Its first officers were: 

Mabel Foster, President; Vera Davison, Vice 
President; Helen Knight, Secretary-Treasurer. 

The officers in 1928 were as follows: 


Mildred Burnham, President; Hazel Wyer, 
Vice President; Gladys Wyer, Recording Secre- 


tary; Myrtle Burnham, Corresponding Secre- 
tary; Mrs. Marcia Goff, Treasurer; Mrs. Marion 
Theis, Musical Director; Lena Phillips, Libra- 
rian; 
and its charter members were: 

Grace Carll, Vera Davison, Madeline Hunt, 
Mabel Foster, Helen Hamilton, Helen Knight, 
Esther Knowlton, Susie Wentworth, Edith Has- 


kell, Ellie Hawes, Annie Crague, Mrs. Marion 
Theis, Mrs. Alice Cousins, Mrs. Helen Colburn. 


The members, in 1928, included: 


Edna Blanchard, Josephine Briggs, Mrs. Effie 
Brown, Mildred Burnham, Myrtle Burnham, 
Mrs. Hope Cook, Mrs. Alice Cousins, Myrle 
Elwell, Mabel Foster, Mrs. Marcia Goff, Edith 
Haskell, Ellie Hawes, Mrs. Ina Hawkes, Veroni- 
ca Hebert, Marion Kelly, Mrs. Grace MacPher- 
son, Mrs. Esther Mitchell, Mrs. Dorothy Moore, 
Mrs. Tena Mullen, Lena Phillips, Vera Steven- 
son, Winona Taylor, Mrs. Marion Theis, Kath- 
leen Vallee, Mrs. Lauretta Welch, Mrs. Helen 
Williams, Gladys Wyer, Hazel Wyer. 

Every year from the date of its or- 
ganization the club gave a recital at 
one of the churches of the city when a 
cantata directed by Mrs. Marion Went- 
worth Theis was presented. These have 
been attended each year by music 
lovers from Portland and other towns. 


Belfast Philharmonic Association 


Another musical organization which 
flourished in the early part of this 
period was the Belfast Philharmonic 
Association. In 1915 its members put 
on the opera “Mikado,” at the Colo- 
nial Theatre and among those who had 
leading roles were: 

Charles F. Hammons, Arthur N. Johnson, 
Ralph I. Morse, Elbridge S. Pitcher, Seldon 


Hammons, Mrs. Hazel Shaw Bowker, Katherine 
Brier, Carolyn Hatch and Mrs. C. W. Wescott. 


Blue Hill Choral Society 


Some of the smaller towns in Maine 
have made excellent progress in music. 
A musical organization that featured 
works of classical composers in this 
period was the Blue Hill Choral So- 
ciety. Its officers in 1913 were: 


306 MUSIC AND MUSICIANS OF MAINE 


President, Mrs. Eliza Herrick; Vice President, 
Mrs. Gertrude Stover; Secretary, Josie Snow; 
Treasurer, Fannie Stover; Pianist, Mrs. Florence 
Fullerton; Conductor, Mrs. Abby Stover. 

Among the music clubs that dated 
their beginnings in the year 1928 were 
the Schubert Club of Kennebunk, the 
Ethelbert Nevin Club of Springvale 
and the Fremstad Club of Bridgton. 


Schubert Club, Kennebunk 


The Schubert Club of Kennebunk 
was organized January 25, 1928. Its 
first officers were: 

President, Mrs. Bessie M. Waterhouse; Vice 
President, Mrs. Frances M. Goodnow; Secre- 
tary-Treasurer, Mrs. Maud B. Wallace; 
and its charter members included: 


Mary H. Bennett, Mrs. Alice §. Chamber- 
lain, Elizabeth Day, Mrs. Mary C. Day, Mrs. 
Frances M. Goodnow, Edna C. Harmon, Mrs. 
Grace P. Smith, Mrs. Maud B. Wallace, Mrs. 
Bessie M. Waterhouse and B. Elizabeth Wil- 
liams. 

Other members who have joined 
since its organization are, Margaret 
Boothby and Helen E. Bakeman. 

The Schubert Club was organized 
for the purpose of stimulating and de- 
veloping a larger and more universal 
interest in good music both among the 
club members and in the community. 


Ethelbert Nevin Club, Springvale 


The officers of the Ethelbert Nevin 
Club of Springvale, organized in Janu- 
ary, 1928, were: 

President, Agnes L. Skillin; Vice President, 
Mae C. Head; Corresponding Secretary, Susan 


Frost; Recording Secretary and Treasurer, Ruby 
G. Lowe. 


Following were the charter members: 


Mrs. Emma Baldwin, Mrs. Helen Brown, 
Vena Buzzell, Grace A. Dow, Mrs. Lucy Ham- 
mond, Mrs. Mae C. Head, Annie Hollinrake, 
Edna Jewell, Gertrude Jewell, Blanche LaBlanc, 
Mrs. Ruby Lowe, Mrs. Emma Mitchell, Mrs. 
Eva M. Morrill, Elsie Newton, Mrs. A. C. Nick- 
erson, Mrs. Marion Ogden, Mrs. Leora H. Os- 
borne, Sarah A. Packard, Mrs. Anita C. Rich- 
mond, Mrs. C. P. Richmond, Mrs. Pauline B. 
Rowe, Mrs. Vernie B. Skillin, Agnes L. Skillin, 


Florence Smith, Kva E. Stanfield, Mrs. Cleo J. 
Thompson. 


The Fremstad Music Club, Bridgton 

The Fremstad Music Club, named 
in honor of Olive Fremstad, was or- 
ganized in 1928 “to develope the mu- 
sical talent of Bridgton and to pro- 
mote musical appreciation and codpe- 
ration among its members and good fel- 
lowship among the people of the town.” 

The first officers chosen were: 

President, Mrs. Willis E. Ingalls; Vice Presi- 
dent, Mrs. H. A. Shorey, Jr.; Secretary, Mrs. 
Lawrence Dunn; Treasurer, Margaret Hill. 

The charter members were: 

Laura Baker, Claire Barker, Mrs. Rosa Burn- 
ham, Mrs. Philip Butterfield, Mrs. Edna Cabot, 
Mrs. Eugene Chaplin, Mrs. Allen Clark, Blanche 
Cole, Mrs. Herbert Cole, Stella Cole, Mrs. Her- 
man Cook, Mrs. Frank Davis, Frances Davis, 
Mrs. Clara Dow, Mrs. Florence Dunn, Mis. 
Vera Farnham, Margaret Hill, Mrs. Alice In- 
galls, Ada Keene, Mrs. Alfred Keene, Gladys 
Lewis, Marion Lewis, Mrs. Mildred Littlefieid, 
Mrs. Ada March, Mrs. Mary March, Mrs. Susie 
Mack, Mrs. Alice Morrison, Mrs. R. M. Moxcey, 
Jessie Murphy, Mrs. Charlotte Norton, Mrs. 
Florence Oberg, Mrs. Winifred Plummer, Mrs. 
Grace Richardson, Mrs. William Richmond, Mrs. 
Helen Shorey, Della Staley, Mrs. La Vanche 
Staley, Mrs. Dora Staley, Mrs. Louis Talcott, 
Muriel Thomas, Mrs. Georgia Webb, Mrs. Ruth 
Wells, Gertrude Whitcombe. 


Choral Art Society of Portland 

The Choral Art Society of Portland, 
whose active membership was com- 
posed wholly of members of church 
choirs and soloists of the city, was or- 
ganized in 1904. During the eleven 
years of its life it gave a concert of sa- 
cred music each season at St. Luke’s 
Cathedral and one of secular music, 
first in Kotzschmar Hall and later in 
other halls in Portland. Its first offi- 
cers were: 

President — Harry F. Merrill; Vice President 
— Frank H. Pierce; Corresponding Secretary — 
Henrietta D.Rice; Recording Secretary—Charles 
E. Wyer; Treasurer — Herbert W. Barnard; 
Directors — Mrs. Fred H. Palmer, Mrs. Frank 
J. Bragdon and Arthur Hyde; Honorary Mem- 
bers — Rev. Robert Codman, D.D., and Her- 


mann Kotzschmar. 


a a ee 


MUSIC OF THE STATE OF MAINE 1897-1928 307 


Others who became presidents of the 
Choral Art Society were: 

Harry F. Merrill, Charles E. Wyer and David 
W. Snow. 

Its chorus consisting, as it did, of 
forty voices, selected from among the 
best to be found at that time in the city, 
was noted for its beauty of tone and 
art in execution. 

Its conductors were Albert Snow and 


Arthur Hyde. 


Maine Federation of Music Clubs 


Through the efforts of the Portland 
Rossini Club and its President, Julia 
E. Noyes, the Maine Federation of 
Music Clubs was organized in 1921. 
This association, though young in 
years, has accomplished much for the 
cause of music. The aim of the Maine 
Federation is that of the National As- 
sociation, “A music club in every city, 
in every county, in every state in the 
Union, with Junior boys and girls 
clubs auxiliary. & 

Among its many objects, in conjunc- 
tion with the National Federation, it 
aims to make America the music cen- 
ter of the world, to aid in carrying out 
a uniform plan for national musical 
development, and, by adequate prep- 
aration, to assist in giving the best 
musical and artistic training to be 
found in America to the American 
student. It also aims to cooperate 
with the National Federation in all its 
plans for aiding the Americanization 
movement by fostering community 
music; to encourage the development 
of musical appreciation; to assist in 
promoting and developing for Ameri- 
can musical artists an opportunity 
equal at least with those of foreign 
birth, and to codperate in all ways in 
making music useful in the civic life 
of the community. 

Through its first State Chairman, 
Mrs. James Albert McFaul, it began 


MRS. JAMES A. MCFAUL, FIRST PRESIDENT OF THE 
MAINE FEDERATION OF MUSIC CLUBS. 


the promotion of musical contests and 
through the continuance of these it 
has been successful in bringing promi- 
nently before the public young artists 
of exceptional ability. 

One of the purposes of these con- 
tests is to attract recognition to the 
superior ability of American music 
teachers by bringing their artist pupils 
into prominence, to inspire and en- 
courage music students to greater ef- 
fort in artistic achievement, and to 
give opportunity and publicity to the 
most talented young musicians of 
America, and thus aid them in the de- 
velopment of a professional career. 
These musical contests for young mu- 
siclans are now looked forward to as 
an annual event. 

The Portland Rossini Club, the 
Lewiston Philharmonic Club, and the 


308 MUSIC AND MUSICIANS OF MAINE 


Kotzschmar Club of Portland are 
among those which have offered cash 
prizes for which the young artists 
have contended. 

Among the winners of the State 
contests have been: 

V oice — Georgina Shaylor of Falmouth, Harry 
Box of Old Orchard, Marcia Merrill of Portland, 
Avis Lamb of South Portland; Piano — Helen 
Bradbury and Muriel Smith both of Portland; 
Violin — Harry Schnecher of Portland. 

The General Federation of Women’s 
Clubs and the Maine Federation of 
Musical Clubs are codperating to es- 
tablish a music section in every public 
library in the United States. Louise 
H. Armstrong of Portland is Chairman 
of Library Extension for Maine. 

The first officers of the Maine Fed- 
eration, elected at the time of its or- 
ganization in 1921, were: 

President, Mrs. James A. McFaul of Port- 
land; First Vice President, Mrs. Henry P. 
Frank of Yarmouth; Second Vice President, Mrs. 
Thomas G. Donovan of Bangor; Third Vice 
President, Mrs. Bernard A. Chase of Auburn; 
Secretary, Bernice M. Preston of Portland; 
Treasurer, Mrs. George J. Akers of Westbrook; 
Auditor, June L. Bright of Bangor; Chairman of 
Contests, Elizabeth M. Litchfield of Lewiston; 
Executive Committee, Mrs. James A. McFaul, 
Julia E. Noyes, June L. Bright, Mrs. Henry P. 
Frank, Bernice M. Preston, Elizabeth M. Litch- 
field and Mrs. Marion E, Theis. 

The officers elected at the annual 
meeting of the Federation in Portland 
in 1927 were: 

President, Julia E. Noyes, Portland; First 
Vice President, Mrs. Guy P. Gannett, Cape 
Elizabeth; Second Vice President, Elizabeth M. 
Litchfield, Lewiston; Third Vice President, Mrs. 
C. W. Towers, Houlton; Recording Secretary, 
Mrs. Ernest Theis, Cumberland Mills; Corre- 
sponding Secretary, Mrs. S. S. Thompson, Port- 
land; Treasurer, Mrs. S. Merritt Farnum, Lew- 
iston; Auditor, Clinton W. Graffam, Portland; 
Directors, Mrs. E. W. Loane, Presque Isle; Mrs. 
E. F. Berry, Rockland; Mrs. C. T. Burnett, 
Brunswick; June L. Bright, Bangor. 

In the spring of 1928 the major of- 
ficers were reelected to serve a two- 
year term. Mrs. Evelyn Badger Car- 


roll, Recording Secretary; Mrs. George 
F. Gould, Corresponding Secretary; 
Mrs. S. Merritt Farnum, Treasurer; 
and Clinton W. Graffam, Auditor, were 
new Officers elected, and new Direc- 
tors were Mrs. E. W. Locke, Presque 
Isle; Mrs. E. F. Berry, Rockland; 
Mrs. C. T. Burnett, Brunswick; Mrs. 
Ernest Theis, Westbrook; Anna Strick- 
land, Bangor. 

The following junior music clubs of 
the State were represented in the State 
Federation of Music Clubs in 1928: 

Junior Cecilia Club, Augusta, Miriam Best, 
counselor; William R. Chapman Club, Bangor, 
Mary Hayford, counselor; Junior Mozart Club, 
Gorham, Mrs. Charles Boothby, counselor; Jun- 
ior Annie Louise Cary Club, Gorham, Mrs. 
Madelyn Cilley, counselor; Junior Mendelssohn 
Club, Portland, Yvonne Montpelier, counselor; 
Junior Handel Club, Portland, Yvonne Mont- 
pelier, counselor; Junior Beethoven Club, Port- 
land, Yvonne Montpelier, counselor; Junior 
Marston Club, Portland, Elizabeth Brown, 
counselor; Vivace Junior Music Club, Portland, 
Ruth Burke, counselor; Junior Cecilia Club, 
Portland, Mrs. Anna Carey Bock, counselor; 
Valerian "Club, Portland, Edward Tolan, coun- 
selor; Junior Harmony Club, Portland, Bernice 
Preston, counselor; Schumann Musical Club, 
Portland, Zilphaetta Butterfield, counselor: 
Westbrook Seminary Junior Music Club, Port- 
land, Doris Roberts, counselor; Young Ladies’ 
Chorus, Warren Church, Westbrook, Mrs. 
Marion Theis, counselor; Junior Harmony Club, 
Rockland, Mrs. Lucy Rankin, counselor; Jun- 


selor. 


Maine Conservatory of Music 


The Maine Conservatory of Music 
of Portland, Maine, was incorporated 
in 1920, “to offer instruction in the mu- 
sical arts and related objects with the 
right to grant certificates and diplo- 
mas for such study.” On its staff of 
instructors in 1928 were Rupert Neily, 
teacher of singing; Anne Neily, teach- 
er of piano; and Mrs. Bertha L. Nich- 
ols, teacher of violin. Scholarships 
were Offered in piano, technique and 
vocal art to students of extraordinary 
ability. 


ior Schubert Club, Alfred, Ocy L. Downs, coun- 


MUSIC OF THE STATE OF MAINE 1897-1928 


Quite a number Maine musicians 
have left their native State to take up 
their labors in other fields and some of 
these were, Melville Warren Chase 
(born in Minott, 1842), who studied 
with Schilling and went to live in 
Michigan; Irving Emerson (born in 
Bridgton in 1842), who became chorus 
director and Supervisor of Music in 
the Hartford Public Schools and was a 
composer of piano numbers and school 
singing pieces; Clarence C. Brooks, 
who sang tenor in the Apollo Male 
Quartette in Boston; Mrs. Berle Wal- 
ton Breed, pianist of Skowhegan, who 
took up her residence in Oakland, Cal- 
ifornia; Ella Flanders of Skowhegan, 
who graduated from the New England 
Conservatory of Music and became a 
member of the faculty there; Harriet 
Marble, vocalist and pianist, who be- 
came a teacher in the Philippines; 
Walter Gage, pianist and composer, of 
Skowhegan, who took up his residence 
in Hollywood, California; Mrs. Joseph 
E. Green (née Margaret A. Walsh), 
born in Portland in 1856, a pupil of 
Dennett, whose voice was heard in the 
church choirs of Portland until 1880, 
when she moved to Massachusett 
where she sang in concert and in the 
churches until 1895; Henry Dike 
Sleeper, born in Patten, Maine, 1865, 
educator, organist and composer, who 
at the time of his death was head of 
the Music Department at Smith Col- 
lege; Orlando E. Wardwell, born in 
Monmouth, 1873, who played the eu- 
phonium in Sousa’s Band; Edith Brad- 
ford, contralto, of Bangor, who toured 
the country with Francis Wilson’s 
Company in “The Monks of Mala- 
bar”; Edith L. Bradford of Calais, con- 
cert artist and vocal teacher; Hiram 
B. Drake of Lewiston, a pupil of Del 
Papa, who became basso in the Grace 
Church Choir of New York; Antonia 
Savage Sawyer (Antonia Sawyer Min- 


309 


er) of Waterville, who became promi- 
nent as a concert manager of New 
York; Winifred Staples, born in Carth- 
age, Maine, who became soprano so- 
loist at St. Mark’s Episcopal Church 
in New York; and Ralph W. Leighton 
of Skowhegan, who sang in Boston 
churches. 

Rose Tyler, daughter of Joseph and 
Jennie C. Tyler of Portland, studied 
at the Damrosch School and the Insti- 
tute of Musical Art in New York. Her 
voice was soprano of rarely beautiful 
quality. When twenty years old she 
sang at the State Street Church, Port- 
land, continuing there for four years, 
when she became soloist in one of the 
New London, Connecticut, churches. 
From there she went to the Central 
Congregational Church in Boston for 
which position she was chosen from a 
class of fifty applicants. She was one 
of the first to appear as assisting artist 
in the Portland Municipal Organ con- 
cert course. She married Maynard 
Bird, financier and banker, and died at 
Cumberland Foreside on the birth of 
her daughter. It is written of her that 
“Her radiant youth and earnestness 
of purpose were an inspiration to all 
who came in contact with her.” 

Mabelle Monaghan, soprano soloist, 
was born in Ellsworth, Maine. She 
possessed an unusual voice, but it did 
not attract people’s attention until 
early in 1895 when she appeared in 
the title role in “Priscilla,” a comic 
Opera, given in her native town by 
amateurs. She was placed under the 
instruction of Charles R. Adams of 
Boston and she later studied with H. 
Carleton Slack of Boston. Her voice 
was lyric soprano, clear, pure, of rare 
flexibility and absolutely true. She 
sang in concert at Tremont Temple 
and received much commendation from 
both the press and the public. 

Alice Morrison, the daughter of John 


310 MUSIC AND MUSICIANS OF 


MAINE 


EMILY POOLE BAXTER, ORGANIST TWENTY-TWO 
YEARS CHURCH OF THE SACRED HEART, PORTLAND, 


L. and Ann M. Morrison, was an ac- 
tive member of the Rossini Club and 
the Portland Ladies’ Quartet and for 
eight years was the contralto of the 
choir of the First Free Baptist Church 
in Portland. She was a pupil of Mrs. 
Jennie King Bragdon and later studied 
under Myron Whitney of Boston. She 
died in Los Angeles to which city she 
had moved four years before. 
Adelaide Eudora (Mrs. Frederic E.) 
Boothby, mezzo soprano, born in Wa- 
_ terville, was the daughter of Charles 
H. and Vesta (Bailey) Smith. She 
studied music under Rudolphson of 
Boston, W. H. Dennett of Portland and 
Madame Eames (mother of Emma 
Eames). She was for some time a 
member of the Universalist Church 
Choir in Waterville and Augusta and 


the Congregational Church, Waterville, 
and she became prominent throughout 
the State because of her work for the 
Festival Chorus. In her parlors at the 
Falmouth Hotel in Portland much of 
the preliminary work for the Maine 
Music Festival was done and there the 
Festival Orchestra was planned and 
organized. 

Emily Poole Baxter (1874-1921), 
daughter of James Phinney and Me- 
hetabel Cummings Proctor Baxter, 
who was organist and musical director 
at the church of the Sacred Heart, 
Portland, from 1899 to 1921, was born 
in Gorham, Maine, and was educated 
in the public schools and then at the 
Bellows Private School of Portland and 
Wellesley College, from which she grad- 
uated in 1897, with the degree of A.B. 

Miss Baxter studied music under 
Hermann Kotzschmar, Harvey Mur- 
ray and Dr. Latham True. She was 
a student of the history of music and 
was especially interested in early mu- 
sic of the Roman Catholic Church. 
She gave instruction on the church 
organ to young people in the Church 
of the Sacred Heart and always did 
this gratuitously. Her life was devot- 
ed to social service and church work. 
A specially built church organ was in- 
stalled in the family residence on Deer- 
ing Street in Portland by her father, 
for her use, and that of her brother, 
former Governor Percival P. Baxter. 
On his sister’s decease, Governor Bax- 
ter had this organ removed from the 
family home, and presented it, in mem- 
ory of her, tothe Sacred Heart Church. 
The organ, which was a two-manual 
instrument of the pneumatic type, with 
twenty-four speaking stops and cou- 
plers for adjustable combinations, was 
built by Jesse Woodbury & Company, 
Boston. 


A few of the many Maine musicians 


q 
q 
f 


SE Se ST 


MUSIC OF THE STATE OF MAINE 1897-1928 311 


who went abroad to study in the seven- 
ties and eighties were Addie Ryan, con- 
tralto, Mabel Bates Burnham, soprano, 
William S. Beckett, baritone, C. T. 
Trowbridge,a powerful basso profun- 
do, Mrs. G. M. Cummings, John Mor- 
gan, whose high sweet voice earned for 
him the sobriquet of “the Silver Tenor,” 
Ella C. Lewis, William H. Stockbridge, 
Joshua Pierce, Samuel D. Rumery, 
Carrie B. Rice, Mr. and Mrs. W. H. 
Dennett and Elizabeth Sparrow of 
Portland; Gertrude Dodwin of Fal- 
mouth Foreside; and Marjory Marri- 
son and Mrs. Philo Steward of Skow- 
hegan. 

There have been many other musi- 
cians in Maine who neither went abroad 
for study nor yet became famous as 
performers or composers, but whose 
impress on Maine music will be felt 
(though, perhaps, those whose musical 
lives they have most influenced, may 
not consciously realize it) for years yet 
to come. Just a few of these may be 
cited as examples of hundreds of others 
who, during their lives as earnest 
musicians, have exerted a_ beneficial 
influence which has lived after them. 
Among these were Mary Jordan and 
Helen Foster of Portland, two thorough 
teachers of piano, and exponents of the 
Virgil Clavier method; Anna C. Willey, 
organist in Portland for twenty-five 
years, who, during this time, gave ele- 
mentary instruction to classes of up- 
wards of one hundred young students 
annually, and who, at her death, de- 
vised a considerable sum of money to 
help in carrying on band concerts in the 
parks of Portland; Mrs. Thomas P. 
McGouldrick, of Cherryfield, who had 
the largest number of pupils of any 
teacher in Washington County; Char- 
lotte Ginn Ricker, who helped train 
every voice of promise during her life 
in Cherryfield; Mrs. Leila Bucklin 


French of Camden, teacher of piano 


and supervisor of music in the public 
schools, one of the foremost in helping 
any worthy musical cause; Carrie Wing 
Osborne, music teacher and organist in 
Winthrop; and Solomon Wheaton Bates 
of Portland, whose life was devoted to 
the cause of music, and who was deep- 
ly interested in the cultivation of mu- 
sic in the public schools. 

Maine has not produced a large 
number of violinists, but some of them 
have become known throughout the 
concert world in New England, while 
the popularity of others has reached 
far beyond its borders. Among those 
who have added much to Maine’s 
prestige in music were, Blanche Cram, 
Bret H. Dingley, Roscoe R. Frohock, 
Grace Hall, Franklin Holding, Bertha 
Webb, Donald Morrison of Skowhe- 
gan, who studied at the Von Ende 
School in New York and played in 
London, New York and in the West; 
Elise Fellows White of Skowhegan, 
who made her debut with Nordica, 
studied and played in public in Vien- 
na, Boston, New York and throughout 
the Northwest and Canada; Maurice 
Swain Philbrook of Skowhegan, who 
appeared as soloist with the Bowdoin 
Glee Club, en tour; and Mrs. Rudgar 
Young (Janet Peters), who went to 
live in Joliet, Illinois. 

Reference to some of these has been 
made in an earlier part of this volume 
while brief sketches of a few of those 
who were living in 1928 will be found 
in the following chapter. 

Blanche Cram played professionally 
in many cities of the country. She 
married Arthur Longfellow, a grand- 
son of a brother of the poet. Miss 
Cram, as well as her brother, an ex- 
cellent cellist, who was appointed 
United States Counsul to France, was 
born in Portland. 

Roscoe R. Frohock, born in Read- 
field in 1839, studied violin with Hein- 


312 MUSIC AND MUSICIANS OF MAINE 


rich Erlich in Berlin. He was widely 
known as a musician and a patron of 
music and other arts. In 1876 he set- 
tled in Malden, Massachusetts, where 
he lived until his death. 

Bertha Webb, one of Maine’s most 
popular violinists was a native of 
Bridgton. She toured the country and 
met with much success. She took her 
first music lesson of Charles W. Grim- 
mer of Portland when she was eleven 
years of age. She afterwards studied 
with Eichburg and Listermann in Bos- 
ton and Damrosch and Dannreutha 
in New York. Her father, Edward C. 
Webb, was one of the musicians in 
Chandler’s Band and Orchestra and 
one of five brothers to serve as mu- 
sicians in the Civil War. Her mother 
was Elizabeth Turner, herself an ex- 
cellent musician. 

Priscilla Alden, another excellent 
violinist, became a pupil of Fred Giv- 
en of Portland in 1894, but she later 
went to Boston where she became a 
student at the New England Conserva- 
tory of Music in one of the classes of 
Emil Mahr. After a year of study with 
Jennie P. Daniell, she received train- 
ing in string quartet and played in 
the classes of Laura Webster, one of 
Boston’s well-known women cellists. 
Miss Alden was a member of the Bos- 
ton Women’s Orchestral Society. 


Maine Composers 


Maine has given to America a good- 
ly share of its composers, some, in- 
deed, whose compositions have been 
sung the world over. Perhaps there 
is no song by a Maine composer that 
is better known than Kate Vannah’s 
“Goodby, Sweet Day.” 

Kate Vannah, born in Gardiner, be- 
gan to play on the piano and organ 
when about nine years of age. She 
was a bright student and was graduated 


from the Gardiner High School before 
she was sixteen, On which occasion 
she wrote the farewell ode, her first 
musical effort. Her first songs were 
published at eighteen years of age 
while a student at Emmettsburg, Md., 
and their success was immediate. Her 
first waltz, dedicated to Annie Louise 
Cary, was the means of commencing 
a warm friendship which was main- 
tained during the life of the Diva. She 
wrote newspaper articles under the pen 
name of Kate Van Twinkle. Her song, 
“Good-bye, Sweet Day,” became fa- 
mous throughout the English-speaking 
world and in the more than thirty 
years since it was first published its 
popularity has remained undimmed. 


This was followed by “When Love is — 


Told,” “Cradle Song,” and many others. 
In all she has written nearly two hun- 
dred compositions including “Heligo- 
land,” a light opera in three acts writ- 
ten in collaboration with Elinore Bart- 
lett, “My Bairnie,” a very sweet melo- 
dy made famous by Blauvelt, “Gray 
Rocks and Grayer Seas,” “At Sea,” 
and “Oh Night Unforgotten.” The 
New York Commercial Advertiser at 
one time stated that “there is more of 
Kate Vannah’s music sold than there 
is of any woman composer in the 
United States or of any male composer 
save DeKoven.” 

Benjamin Lambord, born in Port- 
land, Maine, 1879, studied in Portland 
and taught there, but later moved to 
New York where he continued his mu- 
sical labors and became a pupil of Ed- 
ward MacDowell. His compositions, 
though not many, included an over- 
ture to his unfinished operetta, “Wood- 
stock,” based on a libretto from Scott’s 
novel of that name; a concert waltz 
for the piano and a number of songs. 
Among these were “Under the Green- 
wood Tree,” and “The Daffodils Se- 
cret” as adapted to verses from some 


Oe a - o - vy - = . 
ee ee en a ee ee Se ee eee eee 


MUSIC OF THE STATE OF MAINE 1897-1928 313 


of Heine’s poems, several small pieces 
for the piano, two anthems, “To God, 
Our Strength” and “Suffer Little Chil- 
dren,” but his compositions, “Clytie” 
and “Verses from Omar,” with orches- 
tral accompaniment, were perhaps the 
best things that he did. 

He was organist in St. Luke’s Ca- 
thedral, Portland, and in three church- 
es in New York City. 

He formed the Lambord Choral So- 
ciety and from this, as a nucleus, the 
Modern Music Society of New York 
was organized in 1912. It is said of 
him that he thrilled and entranced 
with his skill as a conductor. 

He was presented with the Mosen- 
thal fellowship by MacDowell and 
with the income from this he went to 
Europe and studied with Vidal in 
Paris. On his return he sketched some 
symphonic poems which unfortunately 
remain unfinished. 

At the time of his death, which oc- 
curred at Lake Hopatcong, New Jer- 
sey, in June, 1915, he had more than 
one hundred promising pupils and he 
was engaged in writing a book on the 
orchestra and orchestral music. 

William Grant Brooks, composer, 
organist and choir director, born in 
Saco, Maine, in 1869, was organist for 
more than twenty-five years in Saco 
and Biddeford churches. During his 
lifetime he traveled nearly one hundred 
thousand miles on a five-year tour of 
North America. His poems were used 
for years in public schools and some 
were translated into other languages. 
“The World’s Ready Helpers,” which 
was translated into the Chinese lan- 
guage, was published in the Chinese 
Illustrated News and is used by the 
Chinese school children. His compo- 
sitions included “Hail to our Star 
Gemmed Flag,” “Crossing the Bar” 
(setting), “At Last” (setting), “Where 
Mother is Tis Home Sweet Home”; 


marches, “Gettysburg,” “Our National 
Honor,” “Prince of Peace,” etc.; his 
band compositions have been played 
by United States Marine Bands, Sou- 
sa’s Band, New York Military Band 
and others; his hymns appear in near- 
ly a score of hymn books. 

Mrs. Helen Willard Howard, daugh- 
ter of Mr. and Mrs. Greenleaf D. Wil- 
lard, was born in Auburn. Graduating 
from Bates College in 1895 she studied 
with George Lowell Tracy and became 
a member of the MacDowell Club of 
Boston. Her principal compositions 
were “Lingering Memories” and “South- 
ern Melody.” 

Maine has never had a song, adopt- 
ed by the legislature, as the official 
song of the State, but a number of 
composers have written melodies with 
Maine as their theme. Chief among 
these compositions with the State as a 
subject have been: 

“Beneath the Pines of Maine” by 
Walter Rolfe; “Down in Maine” and 
“The Old Maine Shore” by William 
H. Buxton; “Down in Maine” by 
William R. Chapman; “Homeland of 
Maine” by Marion E. Gilbert; “Way 
Down in Maine,” a school song, by 
A. W. Barnlund; “Dear Old Maine” 
by Mary Thompson Green; “Sons of 
Maine” by Wilbur C. Spencer; “Some- 
where in Maine” by Leona Stevens 
Hollister; “When the Silv’ry Moon is 
Shining O’er the Hills of Dear Old 
Maine” by Ernest B. Orne; “Maine, 
My Mother” by Mrs. Grace A. Wing; 
“Dirigo” (the State’s motto) by Fan- 
ning G. Maloney; “Maine” by Miriam 
B. Andrews; “Maine” by Embert L. 
Jones; “State of Maine, Kiwanis Song” 
by Harry Stott; “A Song to Maine,” 
music by Elise Fellows White; “Hail! 
State of Maine” by J. Thomas, words 
by sfonneile Ravan; “and “State ~ of 
Maine, My State of Maine” and “Maid 


314 


MUSIC AND MUSICIANS OF MAINE 


in Maine” by George Thornton Ed- 
wards. 

“Down in Maine” by William H. 
Buxton has been adopted as the official 
state song by the Lion’s Clubs of 
Maine and is printed with other state 
songs in the National Song Book, is- 
sued by that organization. “Dear Old 
Maine” by Mary Thompson Green has 
been used as the State Federation Song 
of the Business and Professional Wom- 
en’s Clubs; “The Pines of Maine,” 
words only, by Elizabeth Powers Mer- 
rill, sung to a familiar air, has been 
adopted by the Maine Federation of 
Women’s Clubs as its official song; and 
this song is sung by the Schumann 
Club of Bangor and is printed in its 
year book; Elise Fellows White’s “A 
Song to Maine” (words by Louise Hel- 
en Coburn) has been accepted as the 
state song of the Daughters of the 
American Revolution. 

“State of Maine, My State of Maine” 
by George Thornton Edwards has been 
sung at many meetings of the Maine 
State Grange and has been adopted as 
part of the order of service in some of 
the subordinate granges. In 1920 it 
was sung in every Maine city and town 
where a Centennial Celebration was 
held and was featured on Maine Cen- 
tennial programs from the Atlantic to 
the Pacific. The words of this song 
have been widely copied in newspapers 
and anthologies and it is estimated that 
in all more than half a million copies 
have been printed. It has been sung 
by Maine people in every state in the 
Union; has been adopted as the society 
song by the Maine Women’s Club of 
New York and other Maine clubs and 
organizations in all parts of the coun- 
try and has, for more than twenty 
years, been generally recognized as the 
State of Maine Hymn. 

In the winter of 1927-28, the Maine 
Federation of Women’s Clubs offered 


a prize for a song that could be used 
as a state song by the Music Clubs of 
Maine. 

The contest for the words of this 
prize song closed in April, 1928, and 
although eighty-six poems were sub- 
mitted, none, in the opinion of the 
judges, were found that would be 
worthily representative of either the 
Federation or of the State. The judges 
of the contest were, Professor Charles 
T. Burnett of Bowdoin College, chair- 
man; Marguerite G. Ogden of the Port- 
land Rossini Club; Mrs. David Wasson 
of Bangor; Professor Edward H. Wass, 
head of the department of music at 
Bowdoin College; and Mrs. E. S. Pitch- 
er of Auburn. 

No composer contributed to the mu- 
sical literature of Maine a greater num- 
ber of beautiful songs, anthems and 
instrumental pieces than did George W. 
Marston, to whom some space has been 
given in a preceding chapter. 

The following list of titles has been 
here preserved in the hope that none ~ 
of this modest composer’s invaluable 
contributions to the music of America 
may be forgotten. 

Songs — “At Evening,” “Annabel Lee,” “A 
Stately Pine Stands Lonely,” “At Early Morn- 
ing,” “Bedouin Love Song,” “Cradle Song,” 
“Come May with all Thy Flowers,” “Cavalier’s 
Song of the 16th Century,” “Days are Long,” 
“Don’t Forget Me,” “In Evening,” “Douglas, 
My Douglas,” “Free Lances,” “Far on the Coast 
of Scotland,” “Farewell, Delight,” “Happy 
Death,” “Heralds of Spring,” “In My Garden,” 
“In April,” “In Dreams I saw a Desert Heath,” 
“It seems to Me,” “Israfel,” “In Picardie,” “Last 
Night a Dream Came to Me,” “Lonely,” “Lay 
thy Cheek to Mine,” “My Own Country,” 
“Milkmaid’s Song,” “Morning Star,” “Oh! Heart 
of my Heart,” “O Sweet and Wondrous Mys- 
tery,” “On the Water,” “O Mother Dear, Jeru- 
salem,” “Persian Serenade,” “Soon Fades the 
Violet,” “Segovia and Madrid,” “Sunday,” “Sep- 
aration,” “See’st Thou the Sea,” “Springtime,” 
“Song Album,” “The Triton in the Ilex Wood,” 


“The Old Clock on the Stairs,” “The Promise,” | q 


“The Days are Long,” “The Boat of my Lover,” 
“The Homeland,” “The Chapel,” “The Little 


MUSIC OF THE STATE OF MAINE 1897-1928 315 


Sand Man,” “The Lullaby Divine,” “The Duet,” 
“There was an aged Monarch,” “The Leaf in the 
Book,” “The Sailor’s Ave Maria,” “T’was in the 
charming Month of May,” “Thou’rt like a love- 
ly flower,” “The Lilac Tree,” “The Fairy Wed- 
ding,” “The Land of Peace,” “The Water Lily,” 
“T’was the Middle of the Night,” “Violet, Come 
Rejoice with Me,” “When soft the vesper spar- 
row sings,” “When the land was white with 
Moonlight,” ‘“Wanderer’s Song,” “Waiting by 
the Hedges,” “Where Thrums the Bee.” 
Anthems, Responses and Sacred Songs — “Ave 
Maria,” “As pants the Hart,” “A Day in Thy 
Courts,” “Arise, Shine, For Thy light is Come,” 
“Archangels, Fold Your Wings,” “Awake, put on 
strength,” “By the Waters of Babylon,” “But 
our God endureth forever,” “Be still and know 
that I am God,” “Beyond the smiling and the 
weeping,” “Bonum Est,” “Break forth into Joy,” 
“Brightest and Best,” “Beloved, now are we the 
sons of God,” “Cantate Domino,” “Close to the 
hand that feeds me,” “Crossing the Bar,” “Come 
unto Me,” “Christ our Passover,’ “Cantata 
Domino,” “Far from my Heavenly Home,” “Fes- 
tival Te Deum,” “Glory, Glory to our King,” 
“How Beautiful on the Mountain,” “Hear O 
Lord,” “Hail to the Monarch, who lies in a Man- 
ger,’ “He is our God,” “Hope thou in God,” 
“How lovely are Thy dwellings fair,” “Hark, 
hark, with harps of Gold,” “His love Shines 
over all,” “Hark, hark, my soul,” “Heaven is 
My Home,” “Hark the Hosts of Heaven,” “It is 
the Hour of Prayer,” “I will arise and go to My 
Father,” “I lay my sins on Jesus,” “It came upon 
a midnight clear,’ “I’m a pilgrim, I’m a stran- 
ger,’ “In the Cross of Christ I glory,” “I can- 
not always trace the Way,” “I’m but a stranger 
here,” “I will lift up mine eyes unto the hills,” 
“Jubilate Deo,” “Jerusalem the Golden,” “Jesus, 
Lover of My Soul,” “Jesus the very thought of 
Thee,” “Jesus is mine,” “Love not the World,” 
“Lift up your heads, O ye Gates,” “Like as a 
Father,’ “Lord of all Being, Throned Afar,” 
“Light of those whose dreary dwelling,’ “My 
Own Country,” “My Soul doth wait,” “My God 
and Father, while I stray,” “My Soul Longeth,” 
“Nearer, My God, to Thee,” “Not unto us, O 
Lord,” “O come let us sing,’ “O Thou who 
driest the Mourner’s Tears,” “O Shadow in a 
sultry land,’ “OQ Love Divine,” “O Salutaris 
Hostia,” “Out of the Depths,” “O taste and see,” 
“OQ Jesu, thou art standing,” “One thing have I 
desired of the Lord,” “O Ye that love the Lord,” 
“O’er the distant mountains breaking,” “On 
Jordan’s stormy banks I stand,” “Pilgrim, bur- 
dened with thy sin,” “Peace, it is I,” “Rejoice 
Greatly,” “Round Jerusalem stand the Moun- 
tains,” “Still with thee, O my God,” “Slowly by 
God’s hand unfurled,” “Sun of my Soul,” “Shout 
the Glad Tidings,” “Sentences and Responses,” 


“Thou Grace Divine,” “Turn us, O God of our 
Salvation,’ “Thou Knowest Lord,” “The Lord 
my Pasture shall Prepare,” “The Bird Let Loose,” 
“Te Deum Laudamus,” “The Lord is King,” 
“The Babe of Bethlehem,” “The Land of Peace,” 
“The Land beyond the sea,” “The Night is far 
spent,” “The Star of Bethlehem,” “The Day of 
Resurrection,’ “The Lord is my Shepherd,” 
“There is a safe and secret place,” “There’s a 
bright land far away,” “The singing hosts of 
heaven,” “Venite exultemus in B flat,” “Walk in 
the Light,” “When streaming from the Eastern 
Skies,” “While Shepherds watched their flocks,” 
“We would see Jesus,” “When the Lord turned 
again the captivity of Zion,” “Why seek ye the 
living, among the dead,” “When Winds are 
Raging,” “What are these that are Arrayed,” 
“When Morning’s First and Hallowed Ray.” 

Part-songs — “Blossom Time,” “Bugle Song,” 
“How Sleep the Brave,” “Once Bloomed a rose 
in Avon Town,” “Poppies and dreams,” “The 
Night has a thousand eyes,” “The River of 
Rest,” “The Sands O’Dee,” ‘The Chambered 
Nautilus,” “Vesper Song,” “When green leaves 
come again,” “When winds are raging o’er the 
upper ocean.” 

Pianoforte Duet — “Assyrian Battle March.” 

Piano solos — “‘Ariel’s Dirge and Fairy Song,” 
“A Night in Spain,” “An April Day,” “A Styri- 
an Love Song,” “Aspiration,” “After the Ball,” 
“Album Leaf,” “Adagietto,” “Bagatelle,” “Boat 
Song,” “Berceuse,’ “Cradle Song,” “Funeral 
March of a Canary,” “Gavotte in B minor,” 
“Happy Home March,” “Hunting Song,” “Im- 
promptu-Caprice,” “In the Church,” “Little Ga- 
votte,” “Little Waltz,” “Melody,” “Memories,” 
“March in D major,” “Mazurka,” “Minuet,” 
“March of the Twenty Tin Soldiers,” “Play- 
time,” “Primrose,” “Reverie,” “Romanza,” 
“Souvenir,” “Souvenir De Baviere No. 1,” “Sou- 
venir De Baviere No. 2,” “Souvenir De Baviere 
No. 3,” “Styrienne,” “Slumber Song,” “Serenade 
to a Doll,’ “The Return of the Regiment,” “The 
Mill-wheel,” “Vacation Waltz,” “Village Dance,” 
“What the Negro Minstrel Sang.” 


Old Time Fiddlers 


Nearly all the old time dancing mas- 
ters were good at fiddling. Professor 
Jeremiah Whitten, for many years a 
dancing teacher and violinist in Belfast, 
was born in Freedom, Maine, in 1823. 
He attended the Freedom Academy and 
studied music with his mother who 
was an excellent performer on the vio- 
loncello. His first violin was purchased 
for the sum of ten cents. The bow was 


316 


said to have been “as crooked as a 
barrel hoop” and was strung with 
black horsehair. At seventeen he 
played in the churches and his name 
appeared on some of the leading con- 
cert programs in Belfast. He studied 
with Charles H. Howard of Boston, 
who had located in Belfast, and when 
twenty years old opened his first danc- 
ing school. 

Among the early violinists who 
played for dances in Belfast were Ja- 
cob Douglass and Thomas Merrow. 
Upon special occasions the violinists 
would be assisted by two or three ex- 
tra men who, without notes, played a 
sort of accompaniment, which was 
called vamping. 

Professor Hanford Crosby, who 
taught dancing there, played a fine old 
Maggini, of beautiful tonal quality, 
which later came to be owned by 
Charles H. Crosby of Belfast. 

George W. Oakman was one of a 
large family, all of whom were mu- 
sical, but especially so were his two 
older brothers, Marion and Charles, 
who played respectively the cello and 
violin. In their younger days all three 
were much in demand to play at danc- 
es throughout a large section of Pe- 
nobscot County. The sobriquet of “the 
Oakman boys” followed them through- 
out their lives. 

In the winter of 1925 and 1926 fid- 
dler’s contests were held in many cities 
in New England and great was the 
rivalry among the old time fiddlers, 
many of whom were from sixty to 
eighty years old. Some of those who 
participated in fiddling contests held 
in Portland were: 

Prescott W. Carter, John F. Grant, Charles S. 
Mills, D. Carter Hinds, Charles E. Reny of 
Westbrook, Ridmond Gorey of Westbrook. 

In the spring of 1926 a six-day, 
world wide Fiddling Contest was held 
in Lewiston in which fiddlers of eligi- 


MUSIC AND MUSICIANS OF MAINE 


ble age were invited to participate for 
a World Championship Cup anda cash 
prize of one thousand dollars, and for 
these, competitors from England, Ire- 
land, Scotland, and the Dominion of 
Canada, as well as the northeastern 
section of the United States, vied with 
each other for first place. Cyril Nolin 
of Auburn was the winner. 

Prominent on the program as an 
added attraction was “Joe” Patterson, 
banjoist of Eastport, who as an old 
time negro minstrel end man had cov- 
ered a distance of more than sixty- 
four thousand miles in his travels “on 
the road.” 

Other notable fiddlers in Maine have 
included: 


Reuben E. Bosworth of Fryeburg; John Par- 
ker of Belfast; Frank Cates and Guy E. Linne- 
kin, who won the prizes in a Rockland fiddling 
contest; Peter Cordin of Biddeford, champion 
fiddler of York County; Charles Franklin Ricker 
of Harrison; Mrs. Caroline Richards of Orono; 
George V. Smith of Bangor; Martin H. Haynes 
of Lincoln Center; H. H. Jackson and E. O. 
Barrett of Bangor; M. F. Lyon of Brockton; 
George D. Jones of Lee; Daniel Thibodeau of 
South Brewer; Ralph Bounton of Eddington; 
Paul LaFond of Waterville; Gedeon Terreault, 
Gedeon Audet, Jean Robitalle and William E. 
Getchell of Lewiston; James Carter of Liver- 
more Falls; Charles O. Stickney of Scarboro; 
Fernando T. Philbrick and Oscar Robinson of 
Rockland; A. J. Skolfield and James Jones of 
Oxford Village; Jack Robbins of Bolton Hill; 
James Carr of Livermore Falls; Uncle Steve 
Kimball of Lovell Center, who with his company 
of old time dancers, like Mellie Dunham, for 
several months played to crowded houses in Bos- 
ton and other cities. 


Music of the Schools and Colleges 


The history of the music of the 
schools and colleges of the State, and 
that of the bands and professional or- 
chestras of Maine, should in all justice 
be written into a separate volume for 
there can be but barely sufficient space 
in one book devoted to the music of 
the State of Maine to more than slight- 
ly touch upon these two important 
branches of music. 


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7 
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4 
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MUSIC OF THE STATE OF MAINE 1897-1928 317 


As in other states, in the ten years 
preceding 1928, considerable advance 
in the teaching of music in the public 
schools was made in Maine, and the 
sixty or more school music supervi- 
sors in that year were doing splendid 
work among the young people who re- 
ceived their education at the expense 
of the State. 

In 1928 nearly every high school 
had its band and orchestra, as did 
many of the schools of lower grades, 
while the colleges with their glee clubs 
and instrumental aggregations, made 
up of advanced musicians, had done 
much to promote an interest in music. 
Especially notable among these or- 
ganizations were the Bowdoin, Bates, 
Colby, and University of Maine Mu- 
sical Clubs. 

As one looks back, Maine’s begin- 
nings in school music seem to have 
been rather crude, but the growth 
may be said to have been a healthy 
one. 

Reference has already been made to 
a number of the early teachers of mu- 
sic in the schools in Maine, notably 
Ferdinand I. Ilsley of Portland, who 
in the sixties taught music in the 
schools of Belfast; Samuel Thurston, 
who was responsible for the introduc- 
tion of music into the public schools 
in Portland; and Levi W. Ballard, a 
pioneer in school music in Lewiston 
and Auburn. 

The city of Augusta was one of the 
first to establish music as a study in 
the public schools. Charles C. Hunt, 
for many years, taught music in the 
schools of the Capital City. 

At the 1864 convention of the West 
Penobscot Musical Association in Ban- 
gor, Rev. C. Johnson, in an address, 
advocated the introduction of music 
into the common schools and the fam- 
ilies of that section as a daily exercise. 
Dr. Lemuel A. Torrens was the first 


instructor of music in the 
schools of Bangor. 

Mrs. Myles M. Atherton, President 
of the Maine State Music Supervisors 
Association in 1923 and Supervisor of 
Music in the public schools of Augus- 
ta, was instrumental in forming the 
first band and orchestra at the Cony 
High School. 

Thomas E. Hazell, a teacher of mu- 
sic in the public schools of Portland 
from 1880 to about 1884, was an Eng- 
lishman (born in London). He taught 
the diatonic scale from an ingeniously 
devised card with a sliding back that 
would bring into view the notes with 
all the sharps and flats of each scale 
at the will of the student. He was a 
very successful teacher. 

Nathaniel L. Mower (1860-1916), a 
native of Temple, Maine, was super- 
visor of music in the Auburn schools 
for twenty-five years. While at the 
New England Conservatory of Music, 
where he studied voice and_ public 
school methods, he was made a mem- 
ber, and, for some time, was the di- 
rector of the Conservatory Quartette 
which sang in many New England 
towns. 

Nearly all the seminaries of Maine 
have well developed music depart- 
ments. That at Kent’s Hill Seminary 
in Readfield was established in 1870 
and for nearly forty years was direct- 
ed by Dr. Wilson F. Morse. In 1894 
its excellently equipped music build- 
ing (Ricker Hall) with its four studios 
and fifteen practise rooms was dedi- 
cated. 

In 1920 the Coburn Classical In- 
stitute at Waterville put its music de- 
partment on a new basis, since when 
Carl Jean Tolman has been its direc- 
tor, and among his assistants have been 
Nettie French Stevens, Eva Elizabeth 
Knowles and Inez Faye Armstrong. 
About three years later the trustees 


public 


318 MUSIC AND MUSICIANS OF MAINE 


PROF. E. H. WASS, HEAD OF THE MUSIC DEPART- 
MENT BOWDOIN COLLEGE, BRUNSWICK, AND FOUND- 
ER AND CONDUCTOR OF THE BRUNSWICK CHORAL 
SOCIETY. 


acquired the homestead of Augusta 
West, adjoining the Institute grounds, 


and this building has since been the 


home of its music department. 

Music, instrumental and vocal, has 
been an important part of the school’s 
work and recreation hours of the West- 
brook Seminary in Portland since it 
began its work in 1831. In 1922 the 
piano department became a branch of 
the Dingley-Mathews Piano Work un- 
der the direction of Rachel Hollister, 
daughter of Dr. Orlando K. Hollister, 
who was then the principal of the 
school. 

Lillian Wolfenberger, a brilliant pi- 
anist, followed Miss Hollister as di- 
rector at the Seminary. In order to 
enlarge the scope of the work, Ruth 


Ellen Dodds, an experienced teacher 
of the Dingley-Mathews Work, who 
taught for twelve years in the Denver 
Branch as an authorized normal teach- 
er, was made director of the depart- 
ment at the time of its reorganization 
as a school for girls in 1925. 

The Seminary requires every girl in 
the school to attend the lectures on 
Music Appreciation. The glee club is 
also an important factor in its school 
life. 

Bowdoin College at Brunswick was 
one of the first in the State to grant 
credit for music study. Its music de- 
partment, founded in 1911 by Edward 
Hames Wass and since conducted by 
him, comprises three courses, leading 
to or counting toward the degree of 
A.B., Music as an Art (history and 
evolution of form); Harmony (ele- 
mentary and advanced) ; Counterpoint. 

The University of Maine, recogniz- 
ing the great value of the Festival 
Chorus to Eastern Maine, has granted 
regular class credit for work done at 
rehearsals and in concert and the two 
upper classes of the Bangor High 
School, with the codperation of the 
school officials, was reorganized so that 
the students in these grades might 
make preparation for participating in 
the Festival Concerts. 

Bates College at Lewiston estab- 
lished a course in musical appreciation 
in 1925, and credits for this study are 
given in the same manner as in any of 
the other courses. The Bates Musical 
Clubs. include two glee clubs (men’s 
and women’s), the college band, the 
orchestra, which is known as the Or- 
phic Society, and the college choir. 
Credits are given for faithful attend- 
ance at rehearsals. Seldon T. Crafts 
has been the director of the Music De- 
partment since its introduction into 
the college curriculum. 

Some of the leading musical organ- 


a Ne SS ee el 


MUSIC OF THE STATE OF MAINE 1897-1928 319 


izations of Maine have joined with the 
National Federation of Music Clubs 
in its efforts to establish music credits 
in the public schools of the State, and 
future historians will undoubtedly be 
able to record their success, for it is a 
self evident fact and one that has 
come to be appreciated by school su- 
perintendents generally and by many 
state legislators, not only in Maine, 
but throughout the country, that mu- 
sic is the natural heritage of the child 
and that the privilege of participating 
in the singing of beautiful songs with 
others is the surest and simplest way 
to create and cultivate musical appre- 
ciation in the young; that the state 
which does not provide its young peo- 
ple with music training in its schools, 
or allow credit for properly supervised 
music study, either within the class 
room or in the home of the student, 
equivalent to that given to other basic 
subjects, is withholding happiness from 
those who are of such an age that it is 
their right to have it; and that stimu- 
lation of musical interest in the child 
means not only a broader and better 
appreciation of music in its desirable 
forms by all the members of the house- 
hold with which he comes in contact, 
but, by the exciting of his interest to 
learn to produce that which he loves, 
his zest for the acquirement of knowl- 
edge along other lines is quickened, his 
capacity for learning is augmented, 
and each of his daily tasks become a 
joy to be looked forward to day by 
day, instead of just one added burden. 

There is, perhaps, no instrument by 
the aid of which music appreciation is 
more readily developed or music edu- 
cation is more !thoroughly acquired 
than the piano. As an aid to educa- 
tion in music it is without a parallel. 
Every singer and every violinist should 
do some foundation work with this 
instrument if he would have a broader 


understanding of his art. Every child 
of school age should be taught some 
elementary work on the piano. It will 
be a fine thing when there is a piano 
in every schoolhouse throughout the 
land and at least one teacher who is 
able to give elementary and intermedi- 
ate instruction on that instrument. 
Here is an opportunity for Maine to 
live up to her motto, for whether “Di- 
rigo,” translated, signifies “I lead” or 
“T direct,” she can point the way, if 
she so desires, by being the first to 
have a piano in every schoolhouse in 
the State. Music clubs and service 
clubs have here a rare privilege, to 
spread joy and happiness among the 
young, and there are undoubtedly 
many homes in the country where pi- 
anos have not been opened for years 
which could be placed by generous 
donors where they would open up new 
worlds to the children in schools that 
have never possessed one, so that they 
might, under the guidance of their 
teachers, go adventuring in the realm 
of instrumental music. 

To 1928 there was no state plan in 
Maine for giving music credits in 
schools for private music study; but 
the state laws provision left it optional 
with towns and cities. Thus were 
found some places in which music was 
encouraged while in others the young 
people were deprived of the oppor- 
tunity to learn and enjoy it. 

While The National Bureau for the 
Advancement of Music (in 1924) cred- 
ited the City of Auburn with being the 
first of the larger cities in Maine to in- 
troduce a system of music credits by 
giving credit in a limited way for mu- 
sic study under accredited private 
teachers, somewhat on the plan of the 
system used in Denver, Colorado, 
Brunswick may be said to have been 
the pioneer town in Maine to give 
credit for music studied outside the 


320 MUSIC AND MUSICIANS OF MAINE 


school, for it was the first to recognize 
no distinction between school practice 


and outside practice of music in the 


matter of school credit in music study. 
Through the efforts of C. A. Warren, 
Supervisor of Music in the Public 
Schools of Brunswick, and the officers 
of his orchestral society, full credit for 
instrumental music in the Brunswick 
Schools in school time was accom- 
plished. 

In nearly all of the public schools 
in Maine credit was given in 1928 for 
chorus, orchestra and band work, and 
at this time there were upwards of 
seventy places in which school music 
supervisors were employed in the 
State. 

An important step in the promotion 
of school music was made in 1927 by 
Mr. Warren when he conceived the 
idea of an orchestra made up entirely 
of day teachers in the public schools; 
for outside of the larger cities the num- 
ber of professional teachers of orches- 
tral instruments in any community is 
always limited. 

With this in mind, in the fall of 1927 
he offered free instruction to all teach- 
ers in the Brunswick school system on 
any orchestral instrument. About 
twenty-seven teachers immediately 
availed themselves of the opportunity 
with the result that Mr. Warren was 
given a valuable teaching force in his 
instrumental department and before 
the school year ended, several of the 
teachers taking this course were effec- 
tively training the young people at- 
tending the Brunswick schools. In the 
spring of 1928 Mr. Warren was direct- 
ing a school teacher’s orchestra of fif- 
teen pieces in Yarmouth and another 
of ten players in Freeport, as well as 
his Brunswick School Teacher’s Or- 
chestra. 

The inauguration of the National 
High School Orchestra, by its first as- 


sembly in Detroit in 1926, to play, 
with its two hundred and thirty per- 
formers representing schools in all parts 
of the country, at the convention of 
music supervisors; the second assem- 
bling of the orchestra in 1927, at the 
convention of the department of Su- 
perintendence National Education As- 
sociation at Dallas, Texas, when two 
hundred and sixty-eight performers 
gave eleven programs with such amaz- 
ingly splendid conception that the con- 
vention passed a resolution recogniz- 
ing music as one of the fundamental 
educational subjects, and recommend- 
ing that every school in America place 
musical instruction on a basis of equal- 
ity with other fundamentals; and the 
institution of a National High School 


Chorus to sing with the National High 


School Orchestra at the 1928 Biennial 
Convention at Chicago, all did much 
to intrigue the interest of every young 
student of musical ability and ambition 
throughout the country. | 
In February, 1927, Mr. Warren di- 
rected the music at the convention of 
superintendents in Dallas, Texas, in 
which several Maine high school mu- 
sicians, including Harvey Grant of 
Auburn and Emily Randall of Bruns- 
wick, participated, and, during the 
winter of 1927 and 1928, he trained his 
Brunswick High School Orchestra to 
play for the 1928 Music Supervisor’s 
National Conference. For the 1928 
National High School Orchestra Miss 
Randall was chosen as the only rep- 
resentative from the State of Maine. 


The Waterville High School Band 


and Orchestra were taken to Boston 
in 1925 and 1926 and again in 1927 by 
Mrs. Dorothy H. Marden to partici- 
pate in the New England Sectional 
Band and Orchestra contest held each 
year in May in conjunction with the 
national contests, and these two or- 
ganizations won first prizes in class B 


MUSIC OF THE STATE OF MAINE 1897-1928 321 


(a high school with an enrollment of 
less than 400), and, for three succeed- 
ing years, also won the long distance 
cup which was offered to the group 
with the largest number of pupils, trav- 
eling the greatest number of miles. At 
this gathering Maine was represented 
by two other similar groups, one from 
Portland and one from Caribou. In 
1928 Mrs. Marden began the develop- 
ment of a State Band and Orchestra 
Contest which was held at Waterville 
during National Music Week of that 
year. Morris Reed Robinson of Island 
Falls was the promoter for Northern 
Maine and Mrs. Marden for the South- 
ern part of the State. While nineteen 
states held similar contests in 1927, 
Maine was said to have been the first 
state east of Pennsylvania to attempt 
such a contest. 

In the 1928 conclave of Maine High 
School Musicians nineteen schools were 
represented by either band or orches- 
tra. Entries in the orchestral division 
were made by the Jordan High School, 
Lewiston, Cony High School, Augusta, 
Fay High School, Dexter, Waterville 
High School, Pittsfield Grammar 
School, Hartland Academy, Waterville 
Junior High School, Lawrence High 
School, Fairfield, Coburn Academy and 
Traip Academy of Kittery. 

School bands competing included 
those from Bangor High School, Ed- 
ward Little High School of Auburn, 
Hebron Academy, Crosby High School, 
Belfast, Caribou High School, Water- 
ville High School, Island Falls High 
School and the Lewiston Junior High 
(Bugle and Drum Corps). 

E. S. Pitcher, School Music Super- 
visor of Auburn and President of the 
Eastern Music Supervisors Confer- 
ence, who was chairman of the band 
committee of the New England Sec- 
tional Band Contest in 1928, inaugu- 
rated and held in Lewiston in 1927 


a school music festival which was de- 
clared to be one of the finest ever held 
in the State. In this, seven hundred 
boys and girls from the public schools 
in Maine participated. Mr. Pitcher 
was supported in this enterprise by 
Mr. Warren and George W. Horne, 
Supervisor of School Music in Lewis- 
ton. 

So great was the success of the Na- 
tional High School Orchestra on its 
appearance at Detroit and Dallas that 
from it was developed the idea of a 
National High School Orchestra Camp 
which would combine the advantages 


_of an extended period of music study 


under advanced teachers, with recrea- 
tional opportunities of outdoor life for 
an eight weeks period, and to Charles 
A. Warren of Brunswick the National 
Bureau for the Advancement of Music 
gives credit for originating it. 

Mrs. Eva. Towne of Waterville was 
chairman of the School Music Super- 
visors of Maine and the following were 
the local School Music Supervisors of 
the State for 1927-28: 


Helen Bakeman, Kennebunk; Mildred Ben- 
nett, Freeport; Mrs. Ruby Briggs, Leeds; Mary 
Burpee, Houlton; Rosamond Burr, East Milli- 
nocket; Harry B. Carter, Presque Isle; Fred- 
erick E. Chapman, Belfast; Marion Cobb, Bucks- 
port; Ealeanor S. Colburn, East Livermore; 
Dorothy Cotton, Sedgwick; Margaret Craig, 
Charleston; Florence Crowley, Biddeford; Doro- 
thy Dean, Bangor; Viola DeGrys, Cape Eliza- 
beth; Helen M. Dolley, Limerick; Helen Dow, 
Rangeley; Ruth Dunn, Kennebunkport; Louise 
Fernald, Millinocket; Katherine Files, Hallowell; 
Jane F. Foster, Dover-Foxcroft; Ida Fowle, 
Boothbay Harbor; Leita French, Milo; Louise 
Frohock, Sanford; Gertrude Goss, Berwick; May 
Gould, Veazie; Mrs. Dawn Grant, Gray; Mrs. 
E. H. Grant, Turner; Anna L. Hallett, Houlton; 
Mina G. Haycock, Corinna; Villa Hayden, Cari- 
bou; Florence Homer, Sangerville; George W. 
Howe, Lewiston; Eleanor Howard, Rockland; 
Herbert A. D. Hurd, Fryeburg; Helen N. Jew- 
ett, Kenduskeag; Dorothy Knight, South Ber- 
wick; Alice L. Leith, Temple; Ruth B. Libby, 
South Portland; Sister Mary Lucile, Waterville; 
Harriett Marble, Madison; Mabel E. Marshall, 
Mexico; Eva J. Miller, Wells; Margaret P. 


322 MUSIC AND MUSICIANS OF MAINE 


Mitchell, Islesboro; Donna E. Nelson, Lincoln; 
Ruth Peabody, Mt. Desert; Elizabeth Pomeroy, 
Jay; Grace A. Rogers, Hartland; Mrs. Esther 
Rowe, Cumberland; Esther Rowe, New Glouces- 
ter; Helen B. Shaw, Paris; Mary C. Smart, 
Dexter; Marion Sinclair, Dexter; Albra V. Smith, 
Vinalhaven; Esther Stevenson, Camden; Esther 
M. Stevenson, Rockport; June Snell, Wilton; 
Ida D. Sweatt, Rumford; Pearl E. Talbot, 
Bethel; Carl J. Tolman, Waterville; Ruth E. 
Thomas, Saco; Belle A. Virgie, Orono; Charles 
A. Warren, Brunswick; Belle J. Warren, Tops- 
ham; Hazelteen Watts, Monmouth; Helen E 
Watson, Mechanic Falls; Doris Webb, North 
Bridgton; Frederick A. Wescott, Bar Harbor. 


Minstrelsy in the Maine Woods 


During the summer vacation peri- 
ods which, in New England, are “at 
their height” from July fourth until 
Labor Day, thousands seek relief from 
the sweltering inland cities and more 
southern states by journeying to the 
seashore, or the woods bordering on 
the lakes of Maine. 

Each of the many boys and girls 
summer camps scattered throughout 
the State has its song leader and as 
one rides along he may frequently 
catch snatches of song from groups of 
young people hidden from view in the 
thick pine groves or hear an air played 
by unseen hands on stringed instru- 
ments of one kind or another, for many 
happy hearts are there among the 
youth, whose parents are able to send 
them to spend a season in the health- 
giving air of the Pine Tree State. 
Morning exercises, boat drills and 
pageants are but a few of the numbers 
on the daily programs that are accom- 


panied by singing or by instrumental 


music, until, sometimes, the forests 
fairly reverberate with melody. 

In other places, groups of motor- 
campers, who meet for a night around 
the campfire in some tourist camp or 
in the woods far from the crowded cen- 
ters of population, may be heard blend- 
ing their voices in part songs or join- 
ing in unison in the familiar airs of the 


day or of yesterday, but though am- 
ple provision had been made for en- 
tertaining at the majority of the boys 
and girls camps in the State, few tour- 
ist camps in Maine, up to 1928, had 
made any attempt at organized singing. 

The open-air entertainments and 
concerts presented each evening during 
the tourist season at the Underwood 
Motor Camp at Falmouth Foreside, 
near Portland, from the large outdoor 
stage built in the midst of a pine grove 
on the edge of a picturesque ravine, 
were the first of such a nature to be 
inaugurated in the East. These, and 


the Sunday open-air community serv-_ 


ices, at each of which hundreds of mo- 
torists from all parts of the United 
States and Canada nightly gather, have 
aided in making this camp interna- 
tionally famous. At each of the enter- 
tainments about one half of the pro- 
gram is put on by the management 
while guests of the camp from all 
parts of the world, who meet here in a 
delightful spirit of comeraderie rarely 
found among strangers, voluntarily 
contribute numbers of more or less 
musical interest to each entertainment. 
What does it matter that when their 
voices join in the community sorgs, 
all do not ring true to tone, or that 
some of the pieces are not'of a classi- 
cal nature or that the little orchestra 
opens with a popular number, for the 
blazing community camp fire and the 
mingling of melody and the lights and 
shadows reflected from the moonlit 
bay, make a never to be forgotten im- 
pression on the heart and mind. The 
Underwood Motor Camp was the first 
tourist camp east of the Rocky Moun- 
tains to introduce music as a feature 
and one of the very first to institute a 
Sunday Song Service in America. 


Musical Industries 
While Maine was yet a part of Mas- 


MUSIC OF THE STATE OF MAINE 1897-1928 323 


sachusetts musical industries were be- 
ginning to take an important place in 
the commercial development of that 
section. “Organ shops,” for the build- 
ing of church organs, were early estab- 
lished in several places in Maine. 

Among the first were two at Kenne- 
bunk—the one of Dr. Bourne who 
“put in shape” the organ in the New 
Stone Church of the First Parish in 
Portland soon after it had been in- 
stalled; and the shop of Mr. Allen, 
who built a number of organs for 
churches in Western Maine. 

In 1810 a small organ, built by 
Joshua Furbish of Wells, a mathemati- 
cal genius who learned how to build 
organs, unaided, was installed in the 
First Parish Church of Kennebunk. 
When the old organ was taken down 
and sold at auction, in 1827, a new 
organ, also built by him at a cost of 
$400, was placed in the church. Eben- 
ezer Shackley contributed one half the 
cost of the new instrument which 
served the Parish until 1850 when a 
pipe organ was presented to the church 
by Capt. William Lord, Jr. 

John K. H. Paine, at his shop at 
Watchic Pond, it will be remembered, 
is said to have built the first organ to 
be used in Portland. He was already 
established in business in Portland 
with Thomas J. Sparrow, in manufac- 
turing organs at number seven Union 
Street under the firm name of Paine 
and Sparrow, when his son Jacob 
opened his store in that city. Later, 
in 1831, Paine and Sparrow were lo- 
cated at Market Row, Middle Street. 

Early directories give the occupa- 
tion of Jacob S. Paine as an “umbrella 
and musical instrument maker” and 
_ “a dealer in musical instruments,” with 
a place of business at Middle Street, 
corner of Court (now Exchange) 
Street in Portland. In those days, odd 
as it may seem, umbrella making and 


musical instrument building were allied 
industries, perhaps for no other reason 
than because of the fact that ivory was 
used in the construction of both. 

Calvin Edwards, who established a 
factory in Gorham Village, in 1828 
advertised “to make church and house 
organs in the best possible manner and 
warranted of the best quality,” and 
that he had “ready made and for sale, 
one church organ with eleven stops, 
including the Trumpet and Hautboy 
with swell and ornamental tubes in 
front.” 

On December 15, 1828, the mem- 
bers of the First Parish Meeting House 
in Gorham voted that they “do give 
consent that the proprietors of the 
organ may place the same in the meet- 
ing house of said Parish” and “that 
the rent arising from the Parish land, 
after paying for the bell, and to the 
amount not exceeding One hundred 
Dollars, be appropriated to the pur- 
chase of shares in the organ, provided 
every exertion is made to enlarge the 
present list ofsubscribers to said organ.” 

This organ, claimed to be the first 
organ made by Calvin Edwards, is 
said to have been built by him in Gor- 
ham in 1825. 

As early Maine singers received 
their inspiration to organize choral so- 
cieties from the already far famed 
Handel and Haydn Society of Boston, 
so her earliest piano manufacturers 
set themselves the highest standard 
with which they were acquainted when 
they endeavored to build instruments 
equalling in tone and quality those 
constructed in the Capital of Massa- 
chusetts by Jonas Chickering of whom 
President Coolidge declared, one hun-— 
dred years after the famous manufac- 
turer had built his first piano, that he 
had “made the greatest contribution 
to American Music in a Century of 
Musical endeavor,” for the Chickering 


324 MUSIC AND MUSICIANS OF MAINE 


piano, then as now, was reckoned as a 
standard by which the tonal worth of 
other American pianos were judged 
and their intrinsic values determined. 

William G. Twombly, accredited 
with having constructed the first piano 
manufactured in Portland, was born 
in Poland, Maine, in 1811. His grand- 
father was one of those who joined the 
Shakers when their settlement was first 
formed in New Gloucester, but his 
father, though brought up in the Shak- 
er Village, left there when he was four- 
teen years old and settled in Poland. 

Mr. Twombley was but four years 
old when his father died. At fifteen 
he journeyed to Portland and, until he 
became of age, served an apprentice- 
ship with George Clark, whose cabi- 
net shop was then on the corner of 
Congress and Preble Streets, but was 
afterwards moved to Congress Street 
near Brown and later to Federal Street. 

While employed by Mr. Clark he 
had occasion to go to a house on Free 
Street to unpack a piano that had just 
arrived from Boston, and in doing this 
young Twombley became so interested 
in the fine workmanship of the instru- 
ment that he determined to learn how 
to build one himself. With this end in 
view he went to Boston and entered 
the employ of Currier and Gilbert, 
piano makers there. 

A few years later when Calvin S. 
Edwards decided to open a piano fac- 
tory in Portland Mr. Twombley re- 
turned to the Forest City to enter his 
employ. The new enterprise was fi- 
nanced by Nathan Howe, who added 
additional capital and became a mem- 
ber of the firm. While with this con- 
cern Mr. Twombley built his first pi- 
ano and later constructed a piano 
which took the first prize at the Maine 
Charitable Mechanics’ Association Ex- 
hibition held in Portland in 1838. 


‘Nathaniel 


The prize piano was purchased by 
Warren, who afterwards 
sold it to Joseph Walker. It then came 
into possession of Mrs. Arthur Jordan 
of Portland and later it was owned by 
Georgiana Smith, who then lived on 
Myrtle Street. From here all trace of 
it seems to have been lost. 

After having bought the interest of 
George Clark, who had, in the mean- 
while, joined with Mr. Edwards under 
the name of Clark and Edwards, Mr. 
Twombley became a member of the 
firm of Calvin Edwards & Co. 

During the time of this partnership 
the factory employed ten men and it 
was said that the Edwards piano com- 
pared favorably with the best pianos 
manufactured at that period. When 
Mr. Edwards died in 1866 Mr. ‘Twom- 
bley became the sole proprietor of the 
business, but in the great Portland fire, 
in that year, the factory which was 
located at the corner of Middle and 
Lime Streets was burned, since when 
no pianos have been manufactured in 
Portland. Mr. Twombley afterwards 
opened a piano wareroom on the cor- 
ner of Congress and Oak Streets, and 
in 1868 he moved into a large store on 
Exchange Street, then located on the 
site since occupied by the Union Mu- 
tual Insurance Co. building. Here he 
remained until 1889 when he sold out 
his stock of pianos at auction. For 
some time prior to his death in 1894 
he lived in a room over his old store. 

The only other manufacturers who 
made pianos in Portland before the 
Civil War were William Andrews and 
E. B. Robinson. These two joined to- 
gether and continued business for a 
few years under the name of Andrews 
and Robinson. 

In connection with the history of 
Piano Manufacturing, the following 
comparison of dates will be interest- 


ing: 


MUSIC OF THE STATE OF MAINE 1897-1928 325 
3 ee sestesnnesunsecessseeressny ees ee 


First Piano invented and built by Bartolom- 
meo Christofori of Padua between 1709 and 
C74; 

(This instrument is in the Crosby-Brown Col- 
lection in the Metropolitan Museum in New 
York.) 


Piano first introduced into England in 1760. 

First Piano manufactured in England in 1766. 

First American Piano manufactured in Phila- 
delphia by John Behrent, 1775. 

First Piano manufactured by Stewart and 
Chickering in Boston, 1823. 

irst Piano manufactured in Portland about 
1835. 

Among the dealers in music and mu- 
sical instruments in Portland who ear- 
ly advertised their wares were Charles 
Nolcini, who first opened a wareroom 
Over a store at No. 4 Maine Street, 
and was later located opposite Mer- 
chants Bank, Exchange Street, who 
guaranteed, in his announcement, that 
“should any one instrument not prove 
satisfactory after twelve months, it 
may be exchanged or money refund- 
ed”; Richard Ruggles at No. 4 Ex- 
change Street who, among other things, 
advertised “Prime bass viol and violin 
strings, bassoon and clarinet reeds, silk 
and cotton umbrellas”; William Mc- 
Lellan, “Pianos from eighty to two 
hundred and seventy-five dollars; Cre- 
bore and Milton, A Babcock, Ryder 
and Fallman, and McKays, makers, 
and ‘One of middling quality’ ”; S. Lit- 
tle, who offered “one elegant London 
made Piano Forte — original cost one 
hundred pounds sterling”; and Cyrus 
Farley, 4 Union Row, who kept “viol 
and violin strings.” 

Another early music dealer in Maine 
during the first years after Maine be- 
came a state was Parker Sheldon who, 
at his store in Gardiner (1821), kept a 
supply of bibles, hymn books and sing- 
ing books. 

Other music dealers in Portland at 
this time were S. Patten who, in 1831, 
advertised as just received from Phil- 
adelphia “more than ‘One thousand 
pieces of Music,” and Colman’s where 


they called attention to “Admired Airs 
arranged for the flute and violin with 
figures.” 

David Paine’s Music Store in 1838 
was on Middle Street “two doors west” 
of the “Bank of Portland,” but in 1840 
he moved into a large room over the 
store of his brother, Jacob S. Paine, 
who then had the agency for the Chick- 
ering Pianos. 

George Coleman kept a music store 
in Portland in 1846 and in that year 
Winship and Paine were “manufactur- 
ers Of hats and umbrellas and dealers 
in music and musical instruments,” 
while Newell and Niebuhr announced 
that they were the agents of the Hal- 
lett and Davis Piano. 

In 1858 H. A. Whitney was manu- 
facturing melodians in Ware’s Block 
on Federal Street, Portland, and among 
those who were dealers in pianos and 
organs in that city at about that time 
were A. W. Ladd & Co., W. H. Den- 
nett, Graves I. Chase, Samuel Thurs- 
ton, TH Bix Robinson ky Cos sBis C 
Sprague, W. P. Hastings, William 
Paine and Bailey & Noyes. 

James Dinsmore, in the Republican 
Clarion of Skowhegan in 1854, in an 
abbreviated and alliterative advertise- 
ment announced that he “Sells sheet 
music and Shoulder braces.” His 
grandson Harry Dinsmore is the pro- 
prietor of a music store in Skowhegan. 

For many years after the Civil War 
Hawes Music Store, which was located 
in the building that was erected on the 
site where the old Beethoven Musical 
Society held its first meetings, and Ira 
Stockbridge’s Music House, located on 
Exchange Street near Congress, were 
the only two music stores in Portland. 
Contemporary with these enterprises 
were the piano salesrooms of Samuel 
Thurston on Free Street and those of 
Samuel H. Stevens on Middle Street. 

Samuel D. Rumery, who started in 


326 


the piano business with Samuel Thurs- 
ton, opened a store on Congress Street 
just above Oak, soon after Collins and 
Buxton went into the music business. 

The piano and music house of Cres- 
sey & Allen of Portland dates from the 
year 1884 at which time Charles R. 
Cressey opened his business in a small 
store at 416 Congress Street in what 
was then known as the Lynch Block. 
One half of this store was occupied by 
H. W. McCausland, a sewing machine 
dealer, and the other half was leased 
by Mr. Cressey for the sum of $12.50 
a month. Mr. Cressey’s stock in the 
beginning consisted of two Mason and 
Hamlin organs, one square piano, a 
few accordians, violins, harmonicas, 
violin strings and a small collection of 
sheet music and music books. Popular 
music had not then made its appear- 
ance. Classical, concert and teaching 
pieces were the only kinds of music in 
fashion. Mechanical instruments, play- 
er pianos, graphophones and .radios 
were then, of course, unknown. 

In 1886 Mr. Cressey was joined in 
business by William H. Usher who 
withdrew after remaining in the firm 
for a few months. In 1889 Charles F. 
Jones bought a share in the business 
and he retained his interest in the firm 
until 1894.. In June, 1892, Mr. Cres- 
sey was joined: by Frank C. Allen and 
for thirty-five years this firm, which 
was soon after located in the old Bax- 
ter Block, has remained under the 
same general supervision. In 1914 the 
company was incorporated as Cressey 
& Allen and since 1912 has occupied 
spacious warerooms in the Porteous, 
Mitchell & Braun building. Mr. Cres- 
sey and Mr. Allen each have two sons 
who have come to be connected with 
the business. Cressey & Allen have 
handled many of the leading makes of 
pianos and have come to be whole- 
sale as well as retail dealers in all kinds 


MUSIC AND MUSICIANS OF MAINE 


of musical merchandise, with a repu- 
tation that is country wide. 

_ Other piano dealers in Portland at the 
time that Mr. Cressey made his start 
in business were, W. G. Twombley, 
Samuel Thurston, The New England 
Organ Company, William P. Hastings 
and E. B. Robinson. Music dealers 
were Ira Stockbridge, William Chand- 
ler and Cornelius Hawes and piano 
tuners were Joseph Clark, Joel Wheel- 
wright, S. A. Stone, James Cheney and 
E. B. Robinson. At that time these 
firms constituted all of the musical in- 
dustries of the city. | 

Maine is fortunate in its number of © 
reliable dealers in music and musical 
merchandise. Scattered, as they are, 
throughout the length and breadth of 
the State, they bring to music lovers 
within its borders all that is best, as 
well as all that is popular in both music 
and instruments. 

Among the other largest and oldest 
established of these dealers in 1928 were, 
M. Steinert & Sons Co., Hawes Music 
Store and Kemball Music Company of 
Portland; F. E. Tainter & Co. of Lew- 
iston; and Andrews Music House Com- 
pany of Bangor. 


The Violin Makers Association 


Though all of its members were 
amateurs, who constructed for art’s 
sake, and not one of them was profes- 
sionally engaged or employed in any 
branch of the wood working business, 
“The Violin Maker’s Association of 
the State of Maine” may be said to 
have been one of the established mu- 
sical industries of the State. 

_ This association, which was organ- 
ized in 1916 for the purpose of encour- 
aging and promoting the art of violin 
making and which is said to have been 
the first of its kind formed in America, 
met with considerable success during 
its nine years of activity. Any resi- 


MUSIC OF THE STATE OF MAINE 1897-1928 327 


dent of Maine who had made a violin 
was eligible to membership in the as- 
sociation. Annual contests were held 
in Portland to determine the best vio- 
lin made during the year. 

Leander M. Nute, pioneer violin 
maker in Maine, who was, for twenty- 
five years, a resident of Portland where 
he died in 1925, when at the age of 
ninety-three he was the oldest alum- 
nus of Dartmouth College and sole 
survivor of the class of 1854, made 
more than two hundred and seventy 
instruments and won many prizes in 
violin making contests. 

Among the other prize winners were 
Morrill H. Ames, A. A. Morgan, R. G. 
Hall, Charles S. Mills, Benjamin F. 
Foss, Frank Brown, Charles E. Reny, 
M. T. Collins and Carl S. Bryant. 


Some of the instruments made by 


its members compared favorably with 
many of the fine toned imported in- 
struments, and violins that were made 
in Maine are used by prominent vio- 
linists in New England. The associa- 
tion ceased its activities in 1925. 


Historic Instruments and 
Musical Collections 


All musicians love an instrument 
worthy of their talents. It is ever the 
desire of those who are striving for the 
highest goal in music, to possess the 
most perfect obtainable. 

To the New England pianist in the 
twenties the name Stewart and Chick- 
ering on a piano spelled the hall mark 
of excellence so it is not to be won- 
dered at that in the many houses of 
the people of culture were to be found 
square pianos bearing the Chickering 
imprint. In fact, a search of - Jonas 
Chickering’s old register reveals that 
from the time he began to make piano- 
fortes (1823) to the close of 1835 no 
less than sixty-eight of his instruments 
had been shipped into Maine. ‘This 


appears to be all the more remarkable, 


_ because of the fact that proficiency in 


music was rare in New England in 
those early days when Maine was a 
rather sparsely settled territory. 

The Chickering piano, in the posses- 
sion of Professor Frank L. Rankin of 
Springvale, a family heirloom, handed 
down from his great-grandmother, Mrs. 
Johanna Watson, thought to be per- 
haps the oldest Chickering piano in 
use in 1928, and the second oldest 
of that make privately owned, in ex- 
istence, may antedate all of those 
recorded in Jonas Chickering’s regis- 
ter, but as the serial number is miss- 
ing it is not possible to establish that 
fact. Although the name of Watson 
does not appear in the ‘Chickering 
Register this would not prove that it 
was not what is claimed for it for 
frequently instruments were shipped 
from the factory to a music teacher 
or dealer and the ultimate purchaser’s 
name would therefore not be known 
to the manufacturer. 

Another piano which its owner be- 
lieves is perhaps the oldest Chickering 
piano in Maine and which was orig- 
inally owned by the Sampsons, oil- 
cloth manufacturers of Brooklyn, N. 
Y., and Hallowell, Maine, bears the 
date of 1823. This piano came into 
the possession of Alden Sampson and 
passing through several hands was la- 
ter owned by Rose Wadsworth of Au- 
gusta. 

In Jonas Chickering’s first piano 
register, written in his own hand, are 
many entries of pianos shipped into 
Maine. ‘The first so registered are 
May 9, 1826, Mr. Robinson, Bath, pi- 
anoforte No. 427; Sept. 1, 1826, Mr. 
Cleavland, Brunswick, No. 451; June 
27, °1827,.-|)< As Smith, Portland, ‘No. 
477; May 19, 1827, Mr. Hinckley, 
Brunswick, No. 495. 

It is believed that Jeremiah Robin- 


328 MUSIC AND MUSICIANS OF MAINE 


son, merchant and ship chandler of 
Bath, was the Mr. Robinson to whom 
piano No. 427 was shipped; Mr. Cleav- 
land, who came to own No. 450, was 
more than likely Parker Cleavland, 
professor of mathematics and natural 
philosophy at Bowdoin, who intro- 
duced chemistry and mineralogy into 
the college curriculum; John A. Smith, 
one of the firm of Dana & Smith, 
merchants, who were located at the 
head of Central Wharf and Fore Street 
in Portland, resided at D. Smith’s, 
corner of Danforth and _ Brackett 
Street; and Mr. Hinckley of Bruns- 
wick was, so it may be believed, Judge 
Aaron Hinckley of that town. 

But perhaps the most interesting of 
all of these, chiefly because of historic 
associations, is the Chickering square 
grand piano which occupies a place in 
the old front room in the Wadsworth- 
Longfellow House on Congress Street 
in Portland. This piano was bought 
of Jonas Chickering, July 20, 1843, by 
the poet, himself, during the week fol- 
lowing his second marriage, while he 
was a Professor at Harvard Univer- 
sity and was taken to his home in Cam- 
bridge (the Craigie House) where it 
was used by himself and family and 
by his brother Rev. Samuel Longfel- 
low for many years. It was afterward 
taken to the poet’s summer home at 
Nahant and about 1885 it was stored 
for a time in Lynn. In 1898 it came 
into the possession of C. P. P. Smith 
who, in 1908, donated it to the home 
of the poet’s youth. 

On March 24, 1926, on the forty- 
fourth anniversary of the poet’s death, 
its quaint tones were broadcast by 
radio in compositions of Beethoven, 
Mozart and Chopin, interpreted by 
Maurice Dumesnil, artist pianist, and 
again by Viola de Grys of Portland in 
1928. This rare old instrument, which 
bears the serial number 5824, has be- 


come a part of the Wadsworth-Long- 
fellow Collection belonging to the 
Maine Historical Society in Portland. 

One of the first spinets to be brought 
to Maine, and the very first to be tak- 
en to Brunswick, was conveyed to Bath 
by vessel from Boston in 1813, and 
hauled from there to the home of its 
owner, Marcia Dunlap. This instru- 
ment later came into the possession of 
the Pejepscot Historical Society. Miss 
Dunlap, who was an exceptionally tal- 
ented young lady, became the wife of 
Dr. Isaac Lincoln. She was the pa- 
ternal grandmother of Mrs. Hartley 
C. Baxter of Brunswick. 

The spinet, which at one time graced 
the parlors of the historic Knox Man- 
sion, and which was believed to have 
been placed there before 1824, and 
perhaps as early as 1795, was taken 
to Washington’s home at Mt. Vernon, 
where it occupies a space in a room on 
the first floor, on the left of the front 
entrance. 

At the Second Congregational 
Church, Biddeford, known as the 
White Church, may be found the first 
organ ever installed in Biddeford and 
Saco. This organ was set up on the 
platform back of the pulpit, while the 
new organ was placed in the balcony 
of the church. 

The Shannon Memorial Organ, 
which was installed in the First Parish 
Church of Saco in 1912, at a cost of 
forty thousand dollars, was the gift of 
Richard Cutts Shannon, M.D., of New 
York, a surgeon in the United States 
Army, and was presented on the one 
hundred and fiftieth anniversary of 
the parish in recognition of his broth- 
er’s faithful service of fifty years as 
organist. 

A curious instrument was made at 
one time by Dr. E. F. Jackson from 
stones gathered at Libby’s Beach and 
Prout’s Neck. ‘The stones or rocks, 


i 
ee ee ee ee eS Le 


=—S —— Se —” TS 


MUSIC OF THE STATE OF MAINE 1897-1928 


which were tuned by chipping and then 
laid upon a frame to produce a tone, 
were designed to be struck by mallets 
in much the same manner as a xylo- 
phone is played. In 1921 it was stated 
that there were but two other such in- 
struments in America, although they 
were made in foreign lands before the 
time of Christ. 

The military music and songs of the 
American Revolution (1775-1783) is 
the basis of a collection of songs and 
music made by John T. Fagan of Port- 
land, Maine. The nucleus of this col- 
lection was made in 1876 and was add- 
ed to from time to time until it became 
one of the few well known collections 
of that character in the country. It 
includes the words and music of a great 
majority of the songs which were sung 


during the period of the American 


Revolution. There is probably no 
other which contains so many of the 
fife tunes and marches that were played 
by the fifers of the continental army. 
The historical collection of these tunes 
and marches with events of the Amer- 
ican Revolution has been carefully re- 
corded by the collector. Much of the 
music is in manuscript form and was 
written during that war. In some in- 
stances the music is dated and auto- 
graphed by the copyist. A consider- 
able number of the tunes were taken 
down by Mr. Fagan many years ago 
as they were hummed or whistled or 
played by pupils of revolutionary fi- 
fers. The collection also contains sev- 
eral thousand songs with music dating 
from seventeen hundred to eighteen 
hundred and seventy-six and includes 
many first prints of Civil War songs, 
a number of which bear the autographs 
of their authors or composers. In 1928 
it was stated that the entire collection 
would eventually be donated to the 
State Library at Augusta, Maine. 
Another interesting collection of val- 


329 


uable musical works and music was 
that made by Dr. James A. Spalding 
of Portland. It contains more than 
two hundred volumes of musical his- 
tory, lives of the great musicians and 
essays On music in all its branches and 
in addition thereto one hundred vol- 
umes of original transpositions of four- 
hand pieces and duets from the works 
of the masters. 

Fred I. Bumpus of Auburn, during 
his lifetime, made a collection of val- 
uable violins which was acknowledged 
to be the largest of its kind in the State. 
It included many rare models and gen- 
uine instruments which were the prod- 
uct of noted Italian violin makers. 

The public library of Auburn, Maine, 
was probably the first in the State to 
introduce a music department. In the 
early part of the twentieth century its 
musical collection had come to com- 
prise one hundred and seventy-five 
volumes, covering a wide range of mu- 
sical publications in addition to which 
there were in the library seventy-five 
volumes on the study of music and the 
lives of musicians. At that early date 
the entire collection was placed in the 
circulation department. 


Bands and Professional Orchestras 


When the band goes marching by, 
And we see the colors fly, 
As the music keeps time with measured beat 
To the rhythmic tread of marching feet 
Of the men with heads held high, 
Many a tired eye is brightened; 
Many a saddened heart is lightened; 
And man is apt to forget his ills; 
For there’s naught like the music that thrills 
and thrills 
When the band goes marching by. 


When the band goes marching by, 
And we see the colors fly, 
Full many a heart forgets its care, 
As the drums start drumming and trumpets 
blare, 
And windows are opened high; 


330 MUSIC AND MUSICIANS OF MAINE 


DANIEL H, CHANDLER, FOUNDER OF CHANDLER'S 
BAND, PORTLAND. FROM A PHOTOGRAPH IN POS- 
SESSION OF THE MAINE HISTORICAL SOCIETY. 


Children in wonderment stop their crying; 

Careworn women then cease their sighing; 

And the dull gray skies seem turned to gold, 

For thrilled alike are the young and old 
When the band goes marching by. 

Band music in Maine may trace its 
beginnings back to the time when 
America was engaged in its second war 
with Great Britain, but the occasion 
was not one of a military nature for 
on July 4, 1813, a secret organization 
known as the Rub-a-dub-dub Society 
which paraded through the streets of 
Portland was “accompanied by Sol- 
umn Musick.” 

Although the Treaty of Ghent, which 
ended the War of 1812, had been signed 
on the day before Christmas, 1814, 
news of the conclusion of hostilities did 
not reach New England for several 
weeks after its adoption. When it did, 
British officers, “with a full military 
band” from Canada, visited the town 
of Castine and gavea grand ball which 


was one of the most brilliant and mem- 
orable events in the musical history of 
Maine. 

One of the first Maine bands was 
that organized at Hallowell about 1820, 
but there is little of record regarding it. 

Soon after the separation of Maine 
from Massachusetts John K. H. Paine, 
grandfather of John Knowles Paine, 
made an attempt to organize a band 
in Portland. The instrumentation, it 
is said, originally consisted of a fife, a 
tenor drum, a bass drum, a bugle and 
a clarinet. At first the critics were 
not inclined to take this “band” very 
seriously and disparagingly alluded to 
it as the “Saccarap Band,” but band- 
leader Paine persevered and with the 
assistance of his son, Jacob S. Paine, a 
marching musical organization that 
commanded the respect of his fellow 
citizens was given to the town. 

Jacob S. Paine, while a very young 


man, came to be leader of the band, 


and, in 1827, organized his musicians 
under the name of the Portland Band, 
as has been stated in a preceding chap- 
ter. He has thus been accredited with 
being the organizer and leader of the 
first band in Portland. 

In the summer of 1829, on the oc- 
casion of the visit of the Boston Rifle 
Rangers to Portland, the Boston Bri- 
gade Band accompanied them, and on 
the evening of June twelfth a concert 
was given by the band “in full uni- 
form.” This, it is believed, was the 
first military brass band to play on the 
streets of that city. 

The visit of the Boston Brigade Band 
acted as a stimulus to the musicians of 
Portland with the result that new mem- 
bers and new instruments were added 
to the Portland Band; and it is record- 
ed that on July 4, "1832, this band 
played a creditable part in the annual 
celebration of the Declaration of Inde- 
pendence. 


a a ee lek le ee 


MUSIC OF THE STATE OF MAINE 1897-1928 331 


Among the most enjoyed feature in 
which the Portland Band participated 
were the open air evening concerts 
given on the dome of the Exchange 
Building which then occupied the lot 
on which the marble post office was 
afterwards built. This “musical re- 
gale” occurred twice a week during the 
summer of 1842. 

Daniel Hiram Chandler, who for so 
long a period was identified with the 
bands of Portland, that he was often 
referred to as the father of band mu- 
sic in the State, came to Portland in 
1843 to accept an invitation to become 
the leader of the Portland Band. 

In that year the Portland Brass Band 
gave what is believed to have been its 
first indoor concert, when, at the City 
Hall, it rendered a program “consist- 
ing of marches, quicksteps, slow airs, 
etc.” 

Mr. Chandler was born in the town 
of Merrimac, N. H., on April 17, 1818. 
At the age of ten, having become pro- 
ficient on the fife, he made his debut 
as a musician. While still a youth he 
organized a band and, when he was 
but seventeen years of age, became its 
leader and manager. He went from 
Merrimac to Nashua and thence to 
Lowell and finally to Boston before 
deciding to try his fortune in the Pine 
Tree State. Mr. Chandler was a fam- 
ous bugler in his day and, for many 
years, he had no superior in New 
England. 

Of the band of 1843 he was the last 
survivor, though two who became mem- 
bers of the band in 1845 were still 
living at the time of his death. These 
were Walter Thomas and P. J. Willey. 

The Portland Band was “The band” 
of Western Maine for many years. It 
took part in all of the large celebra- 
tions in various parts of the State up 
to the time of the breaking out of the 
Civil War. 


CYRUS L. CURTIS, TROMBONIST IN THE OLD PORT- 
LAND BAND, AND CONDUCTOR OF MOST OF ITS RE- 
HEARSALS. FROM A PHOTOGRAPH IN POSSESSION 
OF THE MAINE HISTORICAL SOCIETY. 


Samuel F. Parcher, ex-mayor of Saco, 
when interviewed by a Portland news- 
paper representative in the year of his 
death, made several illuminating ref- 
erences to this old musical organiza- 
tion of which he was a member in the 
days before the Civil War. 

Of the uniforms and business of the 
band he said: 

“We made a handsome appearance 
and lots of music on parade. Our uni- 
forms consisted of red coats, blue 
trousers, besprinkled with brass but- 
tons, all surmounted with bearskin 
caps. They were merely the skin and 
were as light as any cap, but I cannot 
say that I think they were very be- 
coming. Whenever we had a drum 
major, which was not often, unless the 
procession was particularly notable, he 
wore an immense cap of the same ma- 
terial. 


332 


MUSIC AND MUSICIANS OF MAINE 


JONATHAN COLE, LEADER OF THE OLD PORTLAND 
BAND. FROM A PHOTOGRAPH IN POSSESSION OF 
THE MAINE HISTORICAL SOCIETY. 


“We played manuscript music, writ- 
ten off for each man with pens. It was 
slow work writing music. It was more 
difficult music as a rule than is now 
played. I played a baritone horn in 
the band and a French horn in the 
orchestra. ‘There were no slide trom- 
bones. Instead of cornets, ophicleides 
were used.” 

In 1857 the roster of the Portland 
Band was as follows: 

Daniel H. Chandler, leader; Jonathan Cole, 
Enos Blanchard, Edward Cobb, A. J. Locke, 
William Morse, Charles G. Young, Edward M. 
Gannon, Cyrus L. Curtis, Daniel Dimond, S. F. 
Parcher, William P. Merrill, Walter H. Thomas, 
M. B. Ellis, P. J. Willey, J. A. Leavitt, Alfred 
Green, William C. Shaw and Asa Humphrey. 


Cyrus L. Curtis, who played trom- 
bone in the band, was a thorough mu- 
sician and conducted most of its re- 
hearsals. 


Major J. A. Leavitt of the old firm 


of Cummings, Leavitt & Widbur was - 


the snare drummer in the band. 
Jonathan Cole, who came from Ver- 
mont and who became leader of the 


band ‘about 1860, was a superior per-_ 


former on the ophicleide, and E flat 
bugle, and became one of the best E flat 
cornet players in the State. During the 
Civil War he was the leader of the Fifth 
Cavalry Band under Sheridan. 

Ernest Gatley, who played clarinet 


later in the old band, afterwards went | 


with Gilmore. 

Clarence M. Richardson, familiarly 
known as “Bob,” a native of North 
Jay, played the tuba and later toured 
with Denman Thompson in the Old 
Homestead, as the old country fiddler. 
He married Ada Abbott, a vocalist, who 
sang in concert in the City Hall at Port- 
land. 

When the Civil War broke out the 
Portland Band was chosen as the First 
Regiment Band and nearly every mem- 
ber of the band, including Mr. Chand- 
ler, “went to war” and shared in all 
the hardships that befall the soldier. 
At the close of the war the majority 
of the members of the First Regiment 
Band enrolled in the Old Portland 


Band with Daniel'H. Chandler once . 
more as their leader, but in 1869 Mr. . 


Chandler was again succeeded by Jon- 
athan Cole. 
In an advertisement of the Portland 


Band, in 1869, appeared the announce- | 


ment that it is “the oldest organization 
for the performance of martial music 
in the State.” 

About the year 1865 T. B. Davis, 
who was the solo B flat cornettist with 
Chandler’s Band, organized the Forest 
City Band and became its leader. This 
organization continued in existence un- 
til 1871 and was considered an excel- 
lent band. 

Some of those who were with the 
Old Forest City Band were H. Backus, 


a co ee 


: 
| 
| 
4 


Se SS ee ee ee 


a Oe oe 


a. = ere o 


MUSIC OF THE: STATE OF MAINE 1897-1928 333 


at one time director, A. McKenney, 
leader, B. E. Adams, G. E. Brown;,B. 
F. Brown, Daniel H. Backus and Peter 
W. Stoneham. | 

Mr. Davis was also solo B flat cor- 
nettist in the Portland Band under 
Jonathan Cole. 

The Old Continential Band, which 
was organized before the Civil War, 
was another Portland Band. Nathan- 
iel Cobb played the clarinet and Wil- 
liam Harmon of Gorham and Amos 
Knight, an old Portland bricklayer, 
were the fifers. 

William Harmon, or “Bill” as he 
was commonly called, could play the 
fife for country dances, in his day, as 
well as any one of the old time fid- 
dlers could fiddle. He was in great de- 
mand in all parts of Cumberland 
County, but wherever he went one of 
the requirements was that he should 
be furnished with plenty of good strong 
tea. This beverage, without the addi- 
tion of either milk or sugar, he sipped 
freely between dances in order, as he 
declared, to keep his lip in condition, 
that he might thereby be able to play 
the evening through, with no longer 
pauses than would be required by a 
performer on a stringed instrument. 

Cobb’s Quadrille Band, organized 
about 1863, lasted about two years. 
Its members were Nathaniel Cobb, 
clarinet; A. T. Walsh, first violin; Wil- 
liam Bodge, second violin; T. B. Davis, 
cornet; E. A. Jordan, double bass. 

Many an old New England resident 


will recall the days that were between 


the ending of the Civil War and the 
celebration of the centennial of the 
founding of the United States of Amer- 
ica, when political torchlight proces- 
sions, in which any, who would, could 
march, paraded up and down the main 
street headed by the town band, which 
was led by its high-hatted drum ma- 
jor. In these parades numberless 


lighted transparences, revealing the 
sentiments of opposing political fac- 
tions, were borne aloft, and as the 
band, in passing, played inspiritingly 
and the local drum corps drummed 
thrillingly, they were greeted with un- 
repressed cheering from those gathered 
on the doorsteps and balconies of 
houses, the windows of which were il- 
luminated with scores of flickering 
candles, while red fire burned at ir- 
regular intervals on the curbstones of 
the sidewalks along the line of march 
and brilliantly tinted sputtering stars 
shot fitfully into the air from number- 
less roman candles. There were sere- 
nades by the band for those from 
whose home the community campaign 
flag was flying, and again at the homes 
of candidates for political honors, where 
speeches were called for and refresh- 
ments were served. 

The Portland Evening Advertiser of 
September I1, 1873, contained an ad- 
vertisement stating that “The under- 
signed have formed an association to 
be known as Chandler’s Band,” signed: 
D. H. Chandler, Charles Grimmer, J. 
M. Mullaly, C. M. Richardson, J. Ty- 
ler and E. M. Gammon. 

The formal organization of Chand- 
jer’s Band was not consummated, how- 
ever, until January, 1876, when articles 
of agreement were signed by twenty- - 
two men, with D. H. Chandler leader. 
Thus was Chandler’s Band of Port- 
land born. | 

Under Mr. Chandler the band played 
in nearly every city in the area bound- 
ed by Washington, Montreal, Detroit 
and St. John and came to be regarded 
as one of the first bands in the State. 

From some of the most proficient 
members of the band, in 1874, an or- 
chestra, known as Chandler’s Crack 
Six, was organized. It consisted. of 
Charles Grimmer, first violin; Daniel 


H. Chandler, second violin; J. M. Mul- 


334 MUSIC AND MUSICIANS OF MAINE 


laly, clarinet; Clarence Richardson, 
violin; Joseph Tyler, cornet; Edward 
Gammon, double bass. This orchestra 
played at many social functions up to 
the time of its leader’s last illness. 

Mr. Chandler became a great favor- 
ite with the people of Portland and in 
1885 was publicly presented with a 
gold watch and chain as a gift from 
more than one hundred of his admirers, 
and a Knights Templar charm by the 
members of his band. ) 

In 1928 Chandler’s Band was conduct- 
ed by Charles M. Brooks, under whom 
it had played on almost every impor- 
tant civic and patriotic occasion in Port- 
land for more than twenty-seven years. 

The personnel of Chandler’s Mili- 
tary Band in 1928 was as follows: 

Charles M. Brooks (trumpet), leader; Flutes 
and Piccolos —H. T. Wall, Thomas Johnson; 
Flute and Saxophone —P. J. Storey; E flat 
Clarinet —H. T. Googins; B flat Clarinets — 
John Leighton, O. J. Christian, F. O. Corliss, 
H. W. Ingram, A. W. Whittier, F. C. Gibbs, 
R. S. Tinkham; Trumpets —H. W. Varney, 
E. G. Blanchard, G. W. Wood, J. L. Tourangeau, 
E. A. Woodside, T. B. Peters; French Horns — 
L. H. Wilson, E. P. Blackwell, H. M. Gifford, 
H. E. Bacon; Baritones — A. S. Conant, E. E. 
Hybert; Trombones — B. L. Greely, W. K. In- 
gram, C. H. Hicks, F. L. Clark; Tubas — A. J. 
Guimond, S. A. Guimond, W. P. Harrington, 
J. H. Crangle; Snare Drum —F. S. Willams; 
Bass Drum —H. T. Farrington; Cymbals — 
F. L. Prince; Armorer — M. W. Libby. 

Among those who were leaders of 
Chandler’s Band have been Frank L. 
Collins, William E. Chandler, Enos 
Blanchard, Frank I. Moore and Philip 
E. Robinson. 

Others connected with the band have 
been: 

J. N. Jacobson, F. L. Bradford, F. L. Prince, 
Ira M. Davis, F. O. Welcome, W. P. Harrington, 
H. E. Mills, Dr. F. J. Chipman, Harry Wall, 
L. W. Fickett, W. G. Newell, F. N. Colesworthy, 
W. W. Mayberry, Wilfred Booth, Joseph Free- 
man, Frank M. Chipman, Ernest Haskell, John 
Woodbury, E. S. Beal, Walter Thomas, Daniel 
Skillings, Eugene Lesser, James A. Bain, Charles 
G. Richards, John T. Fagan, William Crockett 
and Arthur Cole. 


After the organization of Chandler’s 
Band, Jonathan Cole continued to be 
the leader of the old Portland Band 
until 1882 when Frank L. Collins was 
elected to succeed him. On reorgani- 
zation of the band in 1899 William E. 
Chandler, son of Daniel H. Chandler, 
became leader and continued for about 
two years until he became associated 
with the American Cadet Band. 

For a long period these two bands 
were rival organizations in Portland. 
W. E..Chandler for many years coached 
other bands in the State. Among these 
were Merriman’s Band, South Port- 
land, Sanford Band, Kennebunk Band, 
Dunstan Band and Winthrop Band. 

The American Cadet Band of Port- 
land, organized in 1886, had, at first, 
but four members. These were Alfred 
Whittemore, Jack Simpson, Frank 
Stubbs and Andrew Westman and 


they met every week for regular prac- 


tice. Gradually other members were 
added, and when the band finally ap- 
peared on the street in the regalia of 
the Old Portland Cadets, there were 
twenty men in the organization. These 
were: 

Alfred Whittemore, Frank Stubbs, Joseph Le- 
gault, Sylvanus Libby, H. M. Varney, H. T. 
Wall, N. E. Tucker, James Doyle, Jack Simp- 
son, Charles Artenzen, Leonard Libby, Fred 
Pine, Ira W. Hamilton, Samuel Ross, Andrew 
Westman, Robert Brown, Edgar E. Giles, S. H. 
Bruns, Charles Norton and Harold Ingraham. 


These were known as the charter 
members. 

Alfred Whittemore, solo cornettist, 
was the first director of this band, and 
he ‘was succeeded by Charles Schon- 
land. Daniel H. Chandler had assisted 
in coaching the band and its first ap- 
pearance was a creditable one. 

R. B. Hall, who, at that time, was 
enjoying exceeding popularity as a 
composer, then took the leadership of 
the band and gave it considerable 
prominence by featuring it en tour 


MUSIC’ OF THE STATE OF MAINE 1897-1928 335 


240TH COAST ARTILLERY MAINE NATIONAL GUARD BAND, FRANK J. RIGBY, LEADER. 


HUBBARD. 


through Maine and Massachusetts. 
William E. Chandler succeeded Mr. 
Hall as leader and on Mr. Chandler’s 
retirement Charles E. Downs assumed 
the directorship of the band. Later 
F. A. Nye became conductor. On the 
roster of the organization in 1908 
were: 

Cornets—A. Currier, D. Cavanaugh, A. Whit- 
temore; Piccolo —T. Johnson; Clarinets — Earle 
Hamilton, Fred Gooch, Raymond Wilson; Bass- 
es — Ralph Knight, Peter Massbyl; Trombones 
— Charles Moses, Charles Farr, George Went- 


worth; Alto — Edward Jordan; Drums— George 
Beals, George Raynes. 


Rigby’s Band of Portland was the 
successor of The American Legion 
Band, which Frank J. Rigby organ- 
ized in 1920. Four years later the 
name of the band was changed to Rig- 
by’s Band. Under Mr. Rigby’s direc- 
tion the band came to rival for first 
place some of the best bands in the 
State. Following were the players in 
1928: 

Director (trumpet) — Frank J. Rigby; Flute 
and Piccolo — Harold Lawrence; Clarinets — 


PHOTO BY ALLEN 


COURTESY PORTLAND MAINE PUBLISHING COMPANY. 


Donald Davis, Maurice Lane, Wendell Doherty, 
John B. Gooch, Herbert Marshall, John Quinn, 
Horace Oliver, Jose Wallace, Henry Merrill; 
Trumpets — Frank P. Knapp, Leonard Hall, 
Clarence Rowe, Everett Leighton, Linwood 
Knight, Paul Drossel; Horns — Arthur Stevens, 
Bryon Whitney, Maynard Young, Henry Cook, 
Carl Brown; Euphonium — Ernest J. Ward; 
Saxophones—Cecil Dyer, Kenneth Naylor, Law- 
rence Farr; Trombones — Charles Odlin, Paul 
Davis, Orville Duplissie, Paul Farrington, David 
Rubinoff; Basses—Harold Little, Maurice Wade, 
Norman Flagg; Percussion— Joseph Kenney, 


Harry Marr, Fred Ward. 

Mr. Rigby was also leader of the 
240th Coast Artillery Maine National 
Guard Band for some years, but, al- 
though he was retired in 1926, he was 
retained as acting band leader and 
was directing this band in 1928, the 
personnel of which was as follows: 

Flute and Piccolo — Harold Lawrence; Clari- 
nets — Donald Davis, Maurice Lane, George A. 
Law, John Quinn, Horace Oliver, Herbert Mar- 
shall, Jose Wallace, Henry Merrill, Roger Cal- 
derwood; Trumpets —F. P. Knapp, Leonard 
Hall, Clarence Rowe, William Vacchiano, Hyman 
Fineburg; Euphonium — E. J. Ward; Horns — 
A. Stevens, M. Young, H. Cook, C. Brown; 
Saxophones — R. Frost, K. Naylor; Trombones 


336 - MUSIC AND MUSICIANS OF MAINE 
CE aie e a ek et De atlases SSE 4 EN 


— P, Davis, O. Duplissie, D. Rubinoff, P. Far- 
rington; Basses —H. Little, N. Flagg; Drums 
— Lew Barrett, Joseph Kenney, Fred Ward. 


Several attempts to organize bands 
were made by the Italian residents of 
Portland. In 1922 Anthony De Cris- 
tafaro, a former member of the Fifth 
Infantry Band, and a graduate of the 
Conservatory of Music at Naples, It- 
aly, organized the Italian Caruso Sym- 
phony Band, which gave several con- 
certs before its leader moved from 
Portland, and in 1925 the Guiseppe 
Verdi Italian Band was organized by 
R. Carlo. The Italian Caruso Sym- 
phony Band, during its existence, as- 
sisted at all the feasts and celebrations 
of the Italian people in Portland and 
other nearby cities. 

An unusual band was the Portland 
Girl’s Caledonian Pipe Band organized 
in 1925. It proved to be an attraction 
for parades and concerts. Major T. 
John Smith was its leader. 

The LeGault Boy’s Band of Port- 
land, organized in‘1885 by Joseph D. 
LeGault, was featured on many oc- 
casions and was very popular in its 
day. 

Willard D. Mayberry, cornettist in 
Chandler’s Band, pianist and violinist 
and a composer as well, was born in 
Windham and taught music in Port- 
land for a number of years. Among 
his compositions were “The Great 
White Hall” and “Of Love and Duty.” 

Charles G. Richards, who was also 
a member of Chandler’s Band, in which 
he played E flat alto, was a native of 
Portland where he studied with Jung- 
nickel and became leader of several or- 
chestras. 

Among the professional orchestras 
in Portland were Grimmer’s Orchestra, 
organized in 1880 and led by Charles 
Grimmer, who was also leader of the 
Portland Theatre Orchestra; and Giv- 
en’s Orchestra (Fred Given, leader). 


Alfred L. Ryser, a native of Neuf- 
chatel, Switzerland, who, for more than 
twenty-two years, was identified with 
Gilbert’s Dancing Academy in Port- 
land in the capacity of pianist, played 
at many notable social functions dur- 
ing his lifetime. He was organist at 
St. Stephen’s Church for a long period 
and afterwards played in the Central 
Parish Church at Yarmouth. He was 
one of the most popular musicians who 
ever lived in Portland and at the time 
of his funeral an orchestra of fifteen 
pieces played during the service and 
fifty bandsmen escorted the cortege on 
its way to the cemetery. . 

Portland had another organization, 
in 1881, known as the St. James Band, 
composed of the younger musicians of 
the city. Frederick Davis was the 
leader and it was under the tutelege of 
F. L. Collins of the Portland Band. 

The Maine State Fife and Drum 
Corps, organized in Portland in 1885, 
was very successful for a number of 
years. John T. Fagan was the leader 
for the greater part of the time, and 
T. L. Callan for the last six months of 
its existence. Among others prominent- 
ly connected with it were Robert L. 
Whitcomb, James T. Garrity, H. L. 
Stimson, George S. Massey. The Maine 
State Fife and Drum Corps played an 
important part in Portland’s Centen- 
nial Celebration in 1886. 

The Maine Centennial Drum, Fife 
and Bugle Corps, organized by John 
T. Fagan in 1920, proved one of the 
outstanding attractions in the celebra- 
tion of Maine’s Centenary. Among its 
members were veterans of three wars, 
Peter Powers, a famous drummer in 
his day, and Edward Raynes, one of 
the fifers, were Civil War Veterans. 
With its eleven fifers, nine buglers and 
eighteen drummers, led by Mr. Fagan 
and preceded by a group representing 
“The Spirit of ’76,” the Maine Centen- 


ete rs 


MUSIC OF THE STATE OF MAINE 1897-1928 


nial Drum, Fife and Bugle Corps was 
productive of thrills that were not ex- 
celled by any other feature of the pa- 
rade. 

The United States Fifth Infantry 
Band, stationed at Fort Williams on 
Cape Elizabeth, near Portland, with 
its eighty excellent musicians, its care- 
fully selected instrumentation and 
coached by highly trained army band 
leaders, came to be regarded as an 
outstanding United States Army mu- 
sical organization. For some years the 
band was under the instruction of 
Master Sergeant William Illingworth, 
a veteran army band leader; and under 
his successor, Warrant Officer Kurt 
Frier, it was developed into a high 
class concert band which made several 
appearances as such, each time to 
crowded houses, at the City Hall in 
Portland. The concert programs were 
rendered with a verve which gave evi- 
dence that the men had caught the 
true spirit and imagination of their 
talented leader. 

The Fifth Infantry Band came to 
possess many trophies of its tours to 
foreign lands. It played in Belgium 
before King Albert from whom the 
band received one of its most prized 
cups. In 1927 and 1928 the band was 
directed by Warrant Officer A. D. Gin- 
rich, who had come to Fort Williams 
from the Thirty-fifth Infantry sta- 
tioned at Hawaii, and under whom its 
much admired playing of classical and 
popular programs continued to be 
heard on the Fort Williams military 
reservation, and over the radio from 
Station WCSH. 

The first Bangor organization to 
possess a musical standing sufficient to 
attract recognition as a band was 
Clark’s Band of which James Clark 
was the leader. It is said to have been 
organized in the early fifties, but little 
is known of its history and it probably 


337 


ceased to exist long before the Civil 
War broke out. 

The Bangor Light Infantry Band, 
which came into prominence a little 
later through the efforts of William 
Rounds and others interested, was 
started in 1858 as an adjunct to the 
Bangor Light Infantry and for the 
purpose of furnishing music for any 
engagement that might offer, but its 
organization was not perfected until 
early in the following year. The title 
page of the record book of the band 
bore the superscription, “Bangor Cor- 
net Band, January 26, 1859,” the date 
of its meeting in the hall of the Bangor 
Light Infantry, and this is the time 
from which the Bangor Band has since 
dated its beginning. 

Those present at this meeting, at 
which the constitution was adopted, 
were: 

William Rounds, Charles A. Frost, George 
Holt, John O. Young, W. N. Gillies, Elisha M. 
Smith, C. F. Smith, Charles W. Small, William 
T. Standish, William L. Boyd, H. P. Cronin and 
H. P. Crowell. 

Thése men were the founders of the 
Bangor Light Infantry Band. W. L. 
Boyd was elected the first President of 
the band and W. T. Standish clerk and 
leader. Mr. Standish, who was then 
a member of James G. Wasgatt’s 
Quadrille Band, had been connected 
with Bond’s Band of Boston and was 
a cornettist of considerable experience. 

In February of the year in which it 
was incorporated the Bangor Light 
Infantry Band gave its first concert. 
Its first set of instruments which had 
been purchased of the old Union Brass 
Band of Belfast, which had then just 
disbanded, were rather archaic and 
were far from satisfactory, if later rec- 
ords are to be believed. The uniforms 
were purchased of Bond’s Band of 
Boston and they consisted of red coats 
and white striped black trousers and 
bear skin caps. 


338 MUSIC AND MUSICIANS OF MAINE 


During its first season the band filled 
more than sixty engagements, among 
which were included military and fire- 
men’s parades and musters, excur- 
sions, concerts and serenades, some in 
Bangor and some in other cities and 
towns in the State. 

In this year E. H. Goodale was 
chosen leader, and, under the patron- 
age of Dr. A. C. Hamlin, a course of 
four “Musical Soirees” was given. At 
them the best local talent assisted and 
vocalists from Boston and other cities 
were added attractions. From the pro- 
ceeds of these concerts new uniforms 
were purchased. 

In 1860 A. D. Harlow of Saco was 
chosen leader of the band, new quar- 
ters were taken in Mechanic’s Hall 
and many concert engagements were 
filled. 

A rival band known as the Citizen’s 
Cornet Band had, in the meantime, 
been organized, and, during this year, 
an attempt was made to consolidate 
the two bands. 

In 1861 with renewed enthusiasm, 
under their new leader, the band voted 
to enlist in the war as the Second 
Maine Regiment Band, and the fol- 
lowing men enlisted: 

A. D. Harlow, George Holt, W. B. Peakes, 
Charles A. Frost, W. L. Seavey, W. N. Gillies, 
E. M. Smith, E. Andrews, E. H. Goodale and 
A. Morris. 

The record book of the band con- 
tains this interesting entry: “Previ- 
ous to starting for the seat of war the 
band men were invited on board the 
good steamer M. Sanford (Capt. E. 
H. Sanford) where they partook of a 
bountiful collation, provided by the 
officers of the boat, and, last, but not 
least, were presented with a purse of 
Fifty Dollars by the generous captain.” 
The band followed the Second Maine 
Infantry through the campaigns of 
General McLellan on the Peninsula 


until it was discharged in the summer 
of 1862 by the Act of Congress which 
discharged all bands. After its return 
H.S. Morey acted as leader until 1863, 
when Mr. Harlow was re-engaged, and 
in March, 1865, the band re-enlisted 
as the Sixth Maine Regiment Band. 

In 1867 M. H. Andrews was chosen 
leader and under his direction the band 
came to be ranked as an organization 
of high musical standing. New instru- 
ments and uniforms were provided by 
popular subscription, by the citizens 
of Bangor, and music of a much higher 
order than before was performed. 

The uniforms were of dark blue, the 
trousers having a light blue stripe at 
the side trimmed with narrow gold 
lace; the coat was set off with plain 
gilt buttons and epaulettes of heavy 
gold braid, the collar being trimmed 
with wide gold lace; the fatigue caps 
were flat, trimmed with lace and a 
scroll of lace on top and the handsome 
dress caps were trimmed with heavy 
gold lace surmounted by a white plume 
and pompon. 

M. H. Andrews conducted the band 
during each active season for fifteen 
years and inspired the members with 
loftier ideals. During this time the 
work of the band showed remarkanle 
improvement. 

For this period, during the quieter 
months, the band was conducted at 
different times by A. D. Harlow, W. 
B. Peakes, J. Phelps, J. M. Mullaly, 
Castledini, M. Nesbitt, J. Delaney and 
Cr E: Taylor. 

The term 
come into general disuse in 1877 the 

name of the band was changed to Ban- 
gor Band. 

In 1883 R. B. Hall was elected lead- 
er. In 1884 the band received the 
Second Regiment appointment and 
during the campaign which followed 
it was presented by the Loyal League 


“cornet band” having. © 


MUSIC OF THE STATE OF MAINE 1897-1928 339 


with a bass drum, which it still has in 
its possession. In 1885 John Mullaly 
was leader, but in the following year 
R. B. Hall was again chosen and he 
was succeeded by Frank L. Tuck. 

Steven Cream, an English bands- 
man, who later acquired an interna- 
tional reputation as a concert virtuoso, 
became leader of the band in 1887, 
and, because of his efforts among the 
individual members, the work of the 
band was brought to a more finished 
state than ever before, but after having 
served as leader for one year he left 
Bangor to return to his native country. 

Then followed several years of busi- 
ness depression during which the band 
was successively directed by Messrs. 
Andrews, Tuck, Gilbert, Harlow, E. C. 
Adams and Dr. O. E. Wasgatt. 

In 1895 the prospect of continuing 
the organization seemed so hopeless 
that a committee was appointed to as- 
certain the value of the assets of the 
band, for the purpose of disposing of 
them, and here the history of the Ban- 
gor Band would have terminated but 
for the encouragement given by their 
leader, Dr. Wasgatt, to those who were 
determined that the band should con- 
tinue. 

On account of professional duties, 
which would not permit Dr. Wasgatt 
to accept a permanent directorship of 
the band, Harvey J. Woods was se- 
cured in 1897, and under his direction 
the band was again placed on a sub- 
stantial basis. Mr. Woods was not 
only an excellent teacher and coach, 
but he possessed a knowledge of the 
theory of music and an understanding 
of the limitations and qualities of band 
instruments on all of which he was a 
performer. During the six years of 
his leadership he worked unceasingly 
to build up the organization so that it 
would be one of the finest in New 
England. He encouraged young mu- 


siclans in their preparation for band 
work and held rehearsals for amateurs 
so that vacancies in the band, as they 
occurred, might readily be filled. He 
was a real inspiration to many of the 
younger musicians and aroused in them 
a keen interest in music for music’s 
sake. 

When Mr. Woods resigned in 1903 
to move to Seattle, K. A. Ringwall be- 
came leader of the band, and, under 
him, at Lewiston on St. John’s Day 
that year, the band took part in a 
massed band concert in which two 
hundred players participated. Mr. 
Ringwall, who was a thorough musi- 
cian, received his education, including 
a conservatory course, in European 
music centers. He became noted for 
his marked ability in interpretation of 
the works of the better composers. 

In 1905 Mr. Ringwall was succeeded 
by Howard C. Eaton, who, because 
of his long and varied career as leader 
of some of the best bands in the coun- 
try, was well equipped to carry on the 
work of conductor of such a band. Be- 
sides exhibiting more than ordinary 
skill in the technic of conducting, he 
drilled the members in the field ma- 
neuvers of a military band. 

On his retirement, in 1908, he was 
succeeded by Adelbert Wells Sprague, 
who had first become affiliated with 
this band in 1896, and under whom 
the organization was brought to an 
enviable standard of excellence as a 
concert band. 

In 1909 the band again enlisted and 
for six years served as the Regimental 
Band for the Second Maine Infantry, 
National Guard. 

The instrumentation and personnel 
of the Bangor Band in 1927-1928 was 
was follows: 

Conductor, Adelbert Wells Sprague; Flute and 


Piccolo — Delmar B. Lovejoy; Oboe — Henry 
F. Drummond; Clarinets — Alton L. Robinson, 


340 MUSIC: AND MUSICIANS OF MAINE 


Frederick W. Baumann, Fred W. Hicks, J. Frank 
Todd, William Griffin, Kenneth W. Downing, 
Lloyd A. Colby, Nelson J. Budway, Herbert F. 
Monaghan, Arthur A. Field, Vaughan N. Coffin, 
Nelson K. Ordway, Paul C. Sawyer; Saxophones 
— Robert J. Hutchins, Charles F. Jordan, Owen 
F. Infiorati, Paul E. Goodwin; Bassoon — Frank 
E. Robinson; 7rumpets—Irving W. Devoe, Rod- 
ney J. Rowe, J. Harry Haynes, Linwood Bowen, 
Lawrence H. Huot, Raymond P. White, Win- 
field L. Stubbs; Horns — David L. Carver, Hall 
C. Dearborn, Winfield F. Sawyer, Paul L. Leon- 
ard; Trombones — Benjamin T. Shaw, Mau- 
rice P. King, Robert E. Pooler, Herbert C. 
Hicks; Euphoniums — Charles C. Larsen, Karl 
D. Larsen; Bass Tubas — Arthur I. Rowe, Eu- 
gene A. Haley, Arthur L. Atwood; Tympani, 
Xylophone and Chimes— Francis G. Shaw, 
Frank G. Burrill; Drums and Bells —Carl S. 
Baumann; Librarian — Charles F. Jordan. 

In the seventies and eighties brass 
bands were numerous in Maine. Band 
tournaments, under the direction of 
Frank L. Collins, were annually held 
at Lake Maranacook, and in these 
many bands participated. 

Judgments were made on tone, tune, 
precision and expression. Some no- 
table men, among whom were J. B. 
Claus, of the New England Conserva- 
tory, Thomas H. Rollerson and W. S. 
Ripley, served as judges. 

These tournaments usually covered 
a period of three or four days and the 
prizes offered ran sometimes as high as 
five hundred dollars. 

The rivalry between the prominent 
bands and even those from the smaller 
towns was keen, and in the desire of 
the men and their leaders to obtain 
the coveted honor of winning one or 
more of the prizes, many excellent 
bands were developed. 

It is said that nearly every band in 
Maine, excepting Chandler’s, with 
which none at that time cared to com- 
pete, took part in the last tournament 
held in 1886, when Glover’s Band of 
Auburn carried off first honors and the 
Portland Band, under Frank Collins, 
was awarded the second prize. 

Glover’s Band of Auburn was born 


on the one hundredth anniversary of 
the Declaration of Independence of the 
United States, when six musicians 
formed an impromptu band which rode 
through the streets of Lewiston in a 
hayrack, in a parade in celebration of 
that day. These, with others, a few 
weeks later founded the Auburn Cadet 
Band. O. F. Alden was engaged as 
first leader of the band. In 1877 New- 


_ ell Perkins became director and George 


H. Glover, who played in Johnson’s 
Band, was chosen leader and teacher. 

Because of the rivalry between John- 
son’s Band and the Auburn Cadet 
Band it was decreed that no player 
should be eligible to membership in 
both organizations, so the Auburn Ca- 
det Band offered to change the name 
of its organization to Glover’s Band if 


Mr. Glover would stay with and direct © 


it. 
Glover’s Band became knownthrough- 
out New England and won the prize 
in two succeeding band contests which 
carried with it the championship of the 
State. Newell Perkins rehearsed the 
band and directed it at the last tourna- 
ment, at which time the members 
were: 

Piccolo — Will Sturtevant; Clarinets — Benja- 
min Ingraham, Delton Records, Lawrence Pet- 
tengill, Lin. Small; E flat Cornets — George H. 
Glover, Benjamin Barrows; B flat Cornets — 
Charles Johnson (solo), Howard Eaton, Bert 
Alden, Al Foss; Altos — Enoch Perkins (solo), 
Ed Hodgdon, Charles Yeaton, George Sturte- 
vant; Trombones — Clifford McKenney, Sewell 
Parker, Henry Lizotte; Baritone — George T 
Wilson; Basses — Charles Davis, Charles Hart- 


well; Snare Drum—Fred I. Bumpus; Bass 
Drum — Charles Parker; Cymbals — Al Pike. 


Among the noteworthy musicians 
who were graduated from the ranks of 
Glover’s Band were Newell Perkins, 
who went west and organized an excel- 
lent band in Boise City, Idaho; Will 
Sturtevant, who became piccolo soloist 
in a Boston orchestra; Fred Harlow, 
trombone soloist; and Delton Records, 


ee ne ee ee 


oS . 


MUSIC OF THE STATE OF MAINE 1897-1928 341 


who played clarinet in several sym- 
phony orchestras throughout the coun- 
try and wrote and lectured on musical 
subjects. 

Winfield Scott Ripley, who often 
acted as one of the judges at these 
tournaments (born in Paris, Maine, in 
1839), came to be one of Maine’s best 
known musicians. When a little more 
than twenty years of age he enlisted as 
a musician in the United States Navy. 
For many years he was an instructor of 
music in the Boston public schools. It 
was declared that he taught more bands 
in his lifetime than any other and was 
a prolific composer of band and orches- 
tra music. 

The Union Brass Band of Belfast 
and the Thomaston Brass Band were 
two that were giving concerts in East- 
ern Maine in 1847. A rival Belfast 
Band composed of the younger men 
of the town was organized in 1848 and 
was also very popular for atime. The 
old Union Brass Band disbanded 
about 1859. 

The Belfast Military Band was or- 
ganized October 4, 1889. The first 
officers were: 

Ammi Cutter Sibley, President; George H. 
Bruns, Vice President; Charles Haroden, Field 
Secretary; Horatio Palmer Thompson, Treasur- 
er; and Ammi Cutter Sibley, Arthur Irving 
Brown, Charles Baker, George William Burkett, 


David Pollard Flanders, Samuel Worth Johnson 
and Elbridge Simmons Pitcher, Directors. 


The instrumentation of the band at 
this time consisted of six clarinets, five 
cornets, two orchestral horns, two al- 
tos, two tenors, two tenor slide trom- 
bones, two E flat basses, one valve 
tenor, one bass slide trombone, one 
baritone, one double B flat, one pic- 
colo, drums and cymbals. Frank J. 
Rigby was the leader. 

In 1898 this band enjoyed the un- 
usual distinction of having two drum 
majors — William H. Sanborn, who 
weighed two hundred and sixty-one 


pounds and who was the largest man 
doing military duty in Maine, was the 
senior drum major, while diminutive 
Donald Orman Robbins, weighing for- 
ty pounds and reputed to be the small- 
est man in the State of Maine, may be 
said to have been the junior drum 
major. 

Professor William H. Whiddon was 
the first to organize an orchestra in 
Belfast. His orchestra was known as 
Whiddon’s Quadrille Band and was 
made up as follows: 

William H. Whiddon, 1st violin and leader; 
Joseph H. Trussell, 2d violin; George W. Bur- 
gess, bass; John Singhi, cornet; Percy Sanborn, 
flute; and later Jacob L. Havner, bass. 

In the sixties Professor Whiddon 
moved to Boston where he became a 
member of T. M. Carter’s Band. He 
died in Everett, Mass., in the fall of 
1909. 

Hosea Ripley, who lived and died in 
South Bethel, taught singing school in 
Bethel about 1841 and was then con- 
sidered one of the best vocal and in- 
strumental teachers in those parts. 
Possessed of a fine voice, and being 
proficient on any wind or stringed in- 
strument, he was much sought as a 
teacher. He organized bands at Bry- 
ant’s Pond, Bethel and other nearby 
towns. | 

Pierre L. Painchaud (1853-1909), 
son of Joseph and Marie Anne La 
France Painchaud, and organizer and 
for many years leader of Painchaud’s 
Band and Painchaud’s Orchestra of 
Biddeford, was born at Waton, Cana- 
da. He received his education in the 
public schools and under a private 
tutor, but was self-taught as a musi- 
cian. He became an excellent violinist 
and cornettist, and, for many years, 
conducted church choirs, bands, eor- 
chestras and light operas in Biddeford. 
Painchaud’s Band, to which he gave 
his name, became one of the best bands 


342 MUSIC AND MUSICIANS OF MAINE 


in the State. On Mr. Painchaud’s 
death Joseph Martin was elected its 
leader and under him the band main- 
tained the high standard of excellence 
set by its founder. 

In 1928 the personnel and instru- 
mentation of Painchaud’s Band was 
as follows: 

Cornets — Ludger Picher, Warren F. Libby, 
George Ward, Joseph Garrand, Henry Martin; 
Horns — Arthur Plante, Ludger Binette, Frank 
Bolduc; Trombones— Joseph Binette, Emile 
Perreault, Arthur Henry, Henry Neven; Tubas 
— Bert McLaughlin, Sam Bernier; Bass — Ar- 
thur Lambert; Flute — Albert Neven; Clarinets 
— Joseph Martin, Peter Laugerin, Joseph Morin, 
Peter Larochelle, Peter Narmaud, Willie Gau- 
dette, Wilfred Janelle; Drums — Joseph Verrier, 
John Driscoll, Leo Spenard (bass). 


Mr. Martin was also the leader of 
the Biddeford Philharmonic Orches- 
tra, organized in 1901, and in 1928 the 
other members were as follows: 

Violins — William P. Simard, Silas Simensky; 
Cello — Alex Greemond; Cornets — Ludger 
Picher, Warren Libby; Trombone — Arthur 
Lambert; Bass — William Swenny; Clarinet — 
Joseph Martin; Drums — Joseph Verrier; Piano 
— George H. Casseboom. ‘ 

The Bridgton Band was organized 
by veterans of the roth Maine Infan- 
try Band at the close of the Civil War. 
Among those who composed its mem- 
bership were John T., Edward C., and 
Osgood B. Webb, Richard T. Bailey 
and David D. Blanchard. 

The Bridgton Cadet Band, which 
came into existence in 1876, was a 
later organization. H. G. Gerrish was 
its director. 

In 1878 the South Bridgton Cornet 
Band was organized with E. C. Went- 
worth, Conductor, and F. W. Sanborn, 
Secretary. 

Among the older bands of the State 
should be remembered the Brunswick 
Brass Band, which was organized 
March 1, 1844. William R. Field, 
Jr., was, for part of the time, its lead- 
er and it numbered fifteen musicians. 


Besides being a marching organization 
it gave several instrumental concerts 
in Maine’s oldest college town during 
the six years of its existence. 

The Brunswick Cadet Band was a 
later band which was at its best about 
1889. 

St. John’s Band of Brunswick, or- 
ganized in 1882, was a_ successful 
French Band for many years and its 
officers were: 

Alphonse Saindon, President; Jo- 
seph Belanger, Leader; Joseph Sain- 
don, Sergeant; C. L. Lapont, Treas- 
urer. 

The Brunswick Drum Corps was led 
by Alfred Saindon. 

The Camden Brass Band was or- 
ganized in 1848 with Paul Stevens as 
leader. The following constituted the 
personnel of this band at that time: 

Jacob Anderson, Jr., Edmund Barnes, George 
Berry, James Cusick, George P. Gilkey, Austin 
Hosmer, Lorenzo Swett, Edwin R. Tyler, Theo- 


dore P. Tyler, D. B. Withington and Thomas 
Wood. 


Each man in the band owned his 
own instrument. So many fatalities 
among the members occurred within 
two years of its organization that at 
the end of that time the survivors were 
obliged to disband. 

The Union Brass Band of Cape 
Elizabeth was one of the bands, now 
hardly remembered, that was in exist- 
ence in the early seventies. The con- 
certs given by this band in the church- 
es were among the most popular events 
in the town. 

The Cherryfield @Band, which was 
organized in 1869, Was one of the few 
in the smaller towns of the State which ~ 
continued to function after more than 
fifty years of service. G, E. Church 
was its promoter, organizer and lead- 
er. Professor D. H. Chandler of Port- 
land was employed as its first teacher 
and he was followed by Frank Collins 


MUSIC OF THE STATE OF MAINE 1897-1928 343 
erie eee en an ee oe 


of Boston. Later the band was led by 
R. B. Hall and E. C. Wakefield. The 
list of its members was a large one and 
some of them played in this band for 
more than forty years. 

Not a few of the smaller towns of 
the State have boasted bands that ac- 
quired more than local fame before 
the Civil War. One of these was the 
Old Cumberland Band which was or- 
ganized in 1860, William L. Loring, 
it is believed, was its first leader, and, 
after the war, Professor Enos A. Blan- 
chard directed it. Among its members 
were: 

William L. Loring, Homer Blanchard, F. W. 
Blanchard, A. H. Buxton, Samuel True, E. P. W. 
True, A. S. Sweetser, W. D. Sweetser, John P. 
Merrill, Allan Morton, Henry Wyman, Mellen 
ee D. L. Blanchard and Leonard F. Mer- 
rill. 

It flourished for more than ten years, 
but disbanded some time in the seven- 
ties. 

Another band was organized in Cum- 
berland in 1882 with Professor Enos 
A. Blanchard as teacher and leader. 
Among the members, though not all 
at one time, were: 

John H. Anderson, Edward G. Blanchard, 
Roland H. Blanchard, Everett L. Blanchard, 
Fenwick S. Blanchard, George Blanchard, Wil- 
liam F. Blanchard, Walter E. Blanchard, A. N. 
Buxton, George W. Collins, James L. Dunn, 
Frank W. Doughty, Lyndon L. Farwell, Gorham 
Farwell, Maurice L. Greeley, Charles H. Gree- 
ley, David E. Loring, Preston M. Leighton, 
Charles Lawrence, W. H. Mountfort, Josiah 
Morrill, Walter E. Morrill, Wallace L. Merrill, 
Carroll D. Prince, George C. Porter, Charles W. 
Quimby, E. G. Reed, George T. Roberts, Percy 
B. Rideout, George D. Sweetser, Loring B. 
Sweetser, Frank L. Shaw, Fred R. Sweetser, 
Bradford Stevens, Joseph W. Shaw, Frank 
Sweetser, John B. Thomes, Robert S. Thomes, 
William E. Wilson and Benjamin F. Whitney. 


From these members, many of 
whom did not know a note of music 
when they enrolled, but all of whom 
were eager to learn, Professor Blan- 
chard, with infinite patience, perse- 
verence and tact, developed the Cum- 


berland Center Band. After months 
of diligent practice they were able to 
perform in public and came to play at 
county fairs, and, on several occasions, 
paraded with military companies in 
Portland. 

The weekly band meetings were al- 
ways looked forward to with interest 
by the members, many of whom had 
to drive five or six miles to attend 
them. 

The last meeting of the Cumberland 
Band was held in 1892. 

The Damariscotta Brass Band ac- 
quired more than local fame in its 
day, and marched and played in Port- 
land at the Celebration of America’s 
Centennial in 1876. 

The first bands, worthy of note, to 
be organized in Lewiston were the 
Montcalm Band (named for Louis Jo- 
seph, Marquis de Montcalm, with 
whose name every school boy is fa- 
miliar), which was composed largely 
of representatives of the French speak- 
ing population, and the Irish Band, 
which was made up of musicians from 
the Irish citizens of the Sister Cities 
on the Androscoggin River. Henry 
Jagoe was the leader of both of these 
bands. 

Then followed the Old City Band, 
Henry Miller, leader; Lurvey’s Band, 
Samuel Lurvey, leader; Glover’s Band 
of Auburn, George Glover, leader; 
Johnson’s Band, Horace Johnson, lead- 
er; Hobb’s American Band, H. C. 
Hobbs, leader; and the St. Dominic 
Association Band, Louis N. Gendreau, 
leader. Professor Gendreau, who had 
been a bandsman in the Royal Cana- 
dian Artillery at the Citadel, Quebec, 
led the St. Dominic Band for twenty 
years and was instrumental in forming 
the St. Cecilia Boy’s Band of Lewis- 
ton. 

Lurvey’s Band and Johnson’s Band 
became rivals for band business in 


344 


Lewiston and Auburn, and there not 
being sufficient patronage to support 
both, in 1887 it was decided to unite 
these two bands by consolidating thir- 
ty of the best musicians from both into 
one organization; but each band being 
jealous of its rights would not consent 
to the election of either Mr. Johnson 
or Mr. Lurvey as leader. The mem- 
bers of the new band finally united on 
Frederick G. Payne, who thus came to 
be the first conductor of the new or- 
ganization which was to be named the 
Lewiston Brigade Band. 

Frederick George Payne (1856- 
1919), son of George Washington and 
Mary J. B. Payne, and organizer of 
the Lewiston Brigade Band and also 
of Payne’s Second Maine Regiment 
Band, of which for eighteen years he 
was its chief musician, was born in 
Unionville, Conn. He studied music 
under Freichneckt, A. Cuirlo and Ern- 
est Weber and became a clarinet and 
saxophone soloist. At the age of six- 
teen he was the leader of a band at 
Unionville, Conn. Before coming to 
Maine, in 1880, he was a member of 
the 25th and ioth Regiment Bands 
of New York and the Salem Cadet 
Band, and conducted a weekly news- 
paper at Thomaston, Conn. He was 
a composer of about sixty marches, 
caprices and waltzes for bands and 
made over three thousand orchestra- 
tions and band arrangements. He did 
as much for band music in Maine as 
any man of his time. 

Mr. Payne served as conductor of 
the band from 1887 to 1898 when he 
was succeeded by Charles C. Johnson 
(1899 to 1901), Henry M. Gifford 
(1902 to 1909), and Arthur N. Petten- 
gill (1910 to 1928). Under these di- 
rectors the Lewiston Brigade Band 
came to be recognized as one of the 
leading bands of the State. In 1928 
it was believed that the Lewiston Bri- 


MUSIC AND MUSICIANS OF MAINE 


gade Band held the record for “long 
time” consecutive engagements. Among 
these claimed by that organization 
were: 

Burnside Post, G. A. R., each Memorial Day 


for thirty-seven years; Lewiston Municipal Con- 
certs, thirty-seven years; Lewiston Commandery, 


K.T., thirty-three years; Maine State Fair, — 


thirty years; Oxford County Fair, eleven years; 
Dunlap Commandery, K.T. (St. John’s Day), 
fourteen years; Bates College (Commencement 
Week), fourteen years, and Bowdoin College 
(Class Day), three years. 


Frederick Otis Currier (1872-1921), 
who was solo cornettist with the Lew- 
iston Brigade Band, came from a mu- 
sical family. At an early age he ac- 
quired a cornet and began studying 
under his first teacher, William H. 
Given, and later, successively, with 
Frank Burnham of Portland, C. C. 
Johnson of Lewiston and Dana Holt, 
then of Lewiston. In 1894 he served 
as solo cornettist in the Togus Band 
under B. W. Thieme and continued as 
such for a year or more. After play- 
ing for a time in Lewiston and Port- 
land he went with the State Soldier’s 
Home Band at Bath, New York, and 
then with the Soldier’s Home Band at 
Hampton, Virginia. Besides playing 
at most of the fashionable resorts on 
the Atlantic Coast he was soloist in a 
number of leading orchestras, brass 
bands and concert companies in New 
York, and played first trumpet in the 
Hippodrome for five seasons under 
Professor Klein. He was solo cornet- 
tist at the Buffalo Exposition. When 
Al Jolson toured the country from 
coast to coast with his 
Around” Company he took Mr. Cur- 
rier with him. W. Paris Chambers, 
the great cornettist, declared that Mr. 
Currier was the best pupil he ever 
taught. He was the only cornettist 
who ever played Chamber’s “Voce de 
Gabriel” in a manner satisfactory to 
Mr. Chambers, and in appreciation 


* 
——-. es eC 


“Dancing — 


MUSIC OF THE STATE OF MAINE 1897-1928 345 


thereof he was presented with a manu- 
script copy of it by the composer. 

Among notable drum and bugle 
corps in Lewiston and Auburn were 
the Kora Temple Drum Corps (twen- 
ty-five members), E. E. Ramsdell, di- 
rector, organized in 1923, and the Le 
Montagnard Snow Shoe Club Drum 
and Bugle Corps (twenty-eight mem- 
bers), organized in 1924. 

The Livermore Falls Band, Pooler’s 
Orchestra and Murray’s Orchestra 
were all leading musical organizations 
in Livermore Falls in 1920. Pooler’s 
Orchestra united with Murray’s under 
the name of the latter. Allan Hyde, 
who was director of the band, was 
prominent in all of these organizations. 

Livermore Falls, at one time, boasted 
an industrial band. This group of play- 
ers known as the Tri-Mill Chapter 
Band of the Employers Mutual Benefit 
Association of the International Paper 
Company was a reorganization of the 
Ste. Rose Band, made in 1924. This 
band, which played both classical and 
semi-classical music, gave concerts in 
several nearby towns. 

The Machias Cornet Band, which 
was organized April 9, 1902, with Ho- 
vey M. Wiswell as leader, played at 
many open air concerts in the village 
square and also played for all political 
rallies, Memorial Day exercises, launch- 
ings and other public gatherings in 
Machias and East Machias for years. 

The Wiswell Saxophone Orchestra, 
of which the nucleus was composed of 
Hovey M. Wiswell and his three chil- 
dren, gave many entertainments in the 
eastern part of the State for the ten 
years succeeding 1918. Hovey S. Wis- 
well (cornet and saxophone) was the 
leader of the Wiswell Quartette and 
the other members were Sarah C. Wis- 
well, saxophone and marimba; Harry 
S. Wiswell, cornet, saxophone and xylo- 
phone; and Andrew M. Wiswell, saxo- 


phone, trombone and xylophone. E. 
H. Parlin, clarinet, Charles Sanborn, 
drums, and Mrs. Adelaide Hall, piano, 
completed the personnel of the or- 
chestra. 

The Madison Boy’s Band, directed 
by Elmer E. Towne, was, for a num- 
ber of years, a popular band that gave 
concerts in all parts of Maine. Mr. 
Towne, who, for nineteen years, was 
supervisor of music in the schools of 
Skowhegan, was a native of Pittsfield. 
He attended the Boston School of 
Music and for eight years was leader 
of the First Battalion Cavalry Band 
of Boston. 

The Millinocket Band, which came 
to be known as one of the best concert 
bands in Aroostook and Penobscot 
Counties, was organized in 1903 with 
Charles Eaton leader, but after a year 
of work the band was dissolved for 
lack of support. Two years later the 
band was reorganized with Roy Har- 
low as its conductor. 

Other directors were Howard Gor- 
don, E. E. Morgan, James Simpson 
and Frank M. Young, all capable lead- 
ers. While Mr. Simpson was at the 
head of the organization, through the 
courtesy of the Great Northern Paper 
Company, the band was given the use 
of a room at the mill for their Sunday 
morning rehearsals. 

Mr. Simpson, who was a Scotchman, 
had been a member of the Mussel- 
burgh (Scotland) Band and the Edin- 
burgh Silver Band. 

The Norway Brass Band and the 
South Paris Brass Band were both in 
existence in 1888. A. E. Norsworthy 
was the leader of the Norway Band. 
These two bands united in 1921 as 
the Norway-Paris Band. 

Before Rockland had a band N. A. 
Burpee and George W. Brown met 
and played together, during the winter 
months, for mutual pleasure. One aft- 


346 MUSIC AND MUSICIANS OF MAINE 


er another, others joined them on their 
practice nights in the old Yellow 
Schoolhouse, corner of Limerock and 
Union Streets, until a band was formed. 
John Singhi was the first leader and 
others were Mr. York, Mr. Fales and 
Mr. Collins. The last surviving mem- 
ber of that early band was Samuel 
Burpee. 

One of the earliest concerts by this 
band was given in 1856. At this con- 
cert Carrie Burpee, then about six 
years old, made her first appearance 
as pianist. On Mr. Collins retirement 
as leader of the band in 1859 James 
Wight, then of Lewiston, was secured 
to direct it. The Rockland Band was 
in request from far and near for mus- 
ters, celebrations and public events. 
One of the most notable pilgrimages 
made by the band was when it ac- 
companied the Fourth Maine Regi- 
ment to Washington when its member- 
ship was made up as follows: 


E flat Cornets — James Wight, John Singhi; 
B flat Cornets —E. A. Burpee, John Grafton, 
James Partridge; Horns—C. M. Tibbetts, 
Charles Crockett, W. H. Carey, Francis Har- 
rington, George Stevens; Baritones —N. A. Bur- 
pee, John Burpee; 7'ubas — William J. Atkins, 
C. C. Chandler, a Mr. Cleveland, Fred Meser- 
vey; Snare Drums —M. B. Labe; Bass Drum 
— Moses Watton; Cymbals — William Harring- 
ton 


At Boston, when the band played 
on the Common, alternating with the 
Boston Brigade Band, it was given a 
royal reception and surprised and de- 
lighted the Boston people with its 
playing of Ned Kendall’s “Woodup 
Quickstep,” the difficult solo parts of 
which, it was supposed, no one but 
Kendall could play as they should be 
executed, but James Wight elicited the 
applause of those who had gathered to 
listen to the band, for his rendition of 
this composition was done in a man- 
ner worthy of the composer. 

Several of the members of the band 
enlisted and served in the Civil War, 


but, though the original band contin- 
ued to function for some time after- 
wards, it never again reached the high 
plane to which it had attained before 
the war broke out. 

The Rockland Band of 1928 really 
had its beginning in this band, though 
it was reorganized under so many 
different names that it is difficult to 
follow the branches of its family tree. 
After the war Mr. Wight reorganized 
the Rockand Band which to all intents 
and purposes became a new band. On 
his retirement the Rockland Band was 
successively reorganized as Hall’s 
Rockland Band, Arthur Hall, leader; 
the Rockland Military Band, Herbert 
Farnham, leader; the Park Band (or 
Oakland Park Concert Band), Clar- 
ence Fish, leader; and on its final re- 
organization it reassumed its original 
name, The Rockland Band, while still 
under the direction of Mr. Fish. 

The Sunday afternoon appearances 
of the Rockland Band in Oakland Park 
and the concerts given by it in the Park 
Theatre were, for many years, counted 
among the most enjoyed events in 
Rockland’s musical life. 

Dixfield, with a population of about 
twelve hundred people, for more than 
‘thirty-eight years supported a band, 
none of the members of which ever 
received any money from the band’s 
engagements nor were ever subjected 
to any assessments by the organiza- 
tion. All moneys that the band re- 
ceived .for its services were always 
turned into the treasury for the pur- 
chase of instruments, uniforms and 
music and for general expense. 

The first band in Dixfield was or- 
ganized in the sixties and all that can 
be told of it is that which has been 
gathered from some of the oldest citi- 
zens of the town. It was a small or- 
ganization and was considered good 


ee a, Oe ee ee ee ee eS eS ee eee Tee ee 


ee ee ee ee ee, 


Menta, Or THE STATE 


OF MAINE 1897-1928 347 


OFFICERS OF THE DIXFIELD BAND, LEFT TO RIGHT, WILLIAM D. LADD, GEORGE W. HALL, THOMAS P. HOLT, 


G. DANA HOLT. 


in those days for a country band. Its 
personnel included: 

Dewitt Chase, Daniel DeLano, Wallace Eus- 
tis, Foster French, Harry French, Pitt Gam- 
mon, George Holt, George Mitchell, Ed. K. 
Norcross, Henry Park, Aleck Saunders, Laforest 
Saunders and Munroe Wormwell. 

It existed only for a few years and 
was not any more irregular in its re- 
hearsals than the average small town 
band of its day. 

The Dixfield Band, organized De- 
cember 9, 1890, was composed of the 
following who were its charter mem- 
bers: 

George J. Brown, Elmer Brown, Alvah Curtis, 
Everett Gould, Orman Gould, George W. Hall, 
Charles Hall, Albert Hall, Wallace Hutchinson, 
Thomas P. Holt, G. Dana Holt, William D. 
Ladd, Charles Newton, Almon Stockbridge, Nel- 
son Rose, Melvin Frost and Zenas Taylor. 

Its first officers were: 


Alvah Curtis, President; Everett F. Gould, 
Vice President; Zenas W. Taylor, Secretary; 
Charles Hall, Treasurer; William D. Ladd, Di- 
rector; George W. Hall, Assistant Director. 


To William Ladd, who had previ- 
ously directed a band at Weld, Maine, 
Wallace Hutchinson and Almon Stock- 
bridge, the Dixfield Band owed its 
beginning. 

The three Hall brothers and Alvah 
Curtis and Elmer Brown had all been 
members of the West Peru Band, 
which had disbanded a short time be- 


fore, and George W. Hall had been its 
leader. 

Mr. Ladd was leader of the Dixfield 
Band until 1895 when he was succeed- 
ed by Thomas P. Holt, who had played 
for two seasons under B. W. Thieme 
of Togus. 

On the death of Mr. Ladd, who was 
serving as assistant director, he was 
succeeded by George W. Hall. In 1909, 
when G. Dana Holt, after a long ab- 
sence, returned to Dixfield, he became 
the leader of the band and Thomas P. 
Holt became assistant and these two 
piloted the band on its successful ca- 
reer. 

To educate the community as well 
as the band to a better understanding 
and appreciation of real music was the 
constant endeavor of the organization 
from its inception. 

In 1928 the Dixfield Band possessed 
a musical library which was valued at 
nearly one thousand dollars, and which 
included standard arrangements from 
many of the great composers, old and 
new. 

The personnel of the Dixfield Band 
in 1928 was as follows: 

Cornets —G. Dana Holt (Director), George 
W. Hall, Ferdinand Burgess, Merle Witham, 
Kenneth Collins; Clarinets — Nelson Rose, Al- 


ton Rose, Thomas P. Holt; dltos—Frank Davis, 
William Frost, Albert Hall; Baritone — Edward 


348 . MUSIC AND MUSICIANS OF MAINE 


A. Haynes; Trombones — Fred Childs, Robert 
Ames, Herschel B. Holt; Basses— George J. 
Brown, Roy Bisbee, Bert Kilbreth; Drums — 
Charles A. Hall, Rodney Haynes. 

Others who have been members at 
‘various times were: 


Edwin Babb, Albert A. Burgess, Romanzo 
Burgess, Wilder K. Chase, Howard Childs, Ril- 
lie G. DeLano, Sherwood Foster, Wallace Ham- 
mond, Vivian Horn, George Holt, Archie Kid- 
der, Wallace Ladd, Pliney Ladd, Pearl Moore, 
Roscoe Moore, Charles L. Stanley, George N. 
Thompson, Laforest A. Waite and Cyrus Whit- 
tier. 

The Dixfield Band was fortunate in 
always having as leaders musicians of 
the first rank and in possessing a body 
of men, the majority of whom played, 
year in and year out, from the sheer 
love of music. 

George Holt (1833-1917), was a na- 
tive of Saco, Maine. He became in- 
terested in music while learning the 
marble cutting trade in Portland ar 
his first experience in the art was with 
Chandler’s Band of that city. He went 
from Portland to Bangor where he 
finished his apprenticeship as a marble 
cutter, but continuously pursued the 
study of music. In July, 1861, he en- 
listed as musician (leader) in the 2nd 
Maine Regiment. In the army band 
he played solo alto, arranged much 
music for the band and being a good 
mechanic, he kept the instruments of 
the band in repair while in the service. 
He established a monumental business 
in Dixfield, married Vienna Austin 
Yetten there and raised a family of 
three sons, all of whom were musically 
inclined and two of whom adopted 
music as a profession. Up to 1903, at 
which time he was stricken totally 
blind, he had always been active as an 
instructor of wind and string instru- 
ments and an arranger of music for 
band and orchestra. 

The Durham Brass Band of twenty- 
two musicians, which had been organ- 


ized in 1869, by Col. Joseph C. Tyler, 


was speedily developed into an organ- 
ization which exhibited more than ordi- 
nary musical talent. Colonel Tyler 
played an E flat bugle and R. J. Has- 
call a B flat cornet in this band. 

At a gathering, at which bands from 
all sections of Androscoggin County 
were present, because the instruments 
of the Durham Band were rather an- 
cient origin, some jocose person took 
occasion to refer to this band as the 
“Durham short horns,” but the Dur- 
ham Band outclassed many of the 
others in superior musical skill, and so, 


for a time, enjoyed the reputation of 


being the best small band in that 
county. 

Lyman Parkman (1836-1900), a 
native of Charleston, Maine, was con- 
sidered an excellent musician in his 
day. As a young man he worked on 
his father’s farm and later became a 
carpenter. He was organist at the 
Methodist Church at East Corinth for 
thirty years, and as the leader of the 
East Corinth Band he became so pop- 
ular that when bands from other towns 
passed through East Corinth they — 
would stop and serenade him. 

An interesting story is told of him. 
It seems that when he was hardly 
more than a boy his father entrusted 
him to drive his team to Bangor to 
deliver a load of potatoes. After at- 
tending to the business, roughly dressed 
country lad as he was, he strolled into 
a music store where one of the first 
reed organs to arrive in Bangor was — 
being ‘exhibited. The clerk of the 
store, thinking to have some fun at his 
expense, with a sly wink at a group of 
ladies to whom he was showing the in- 
strument, turned and said, “Play us 
a tune, bub.” Much to his astonish- 
ment and that of his prospective cus- 
tomers, young Parkman played the 
organ better than any in the group 
could have played it, although it was 


MUSIC AND MUSICIANS OF MAINEI897-1928 349 
RE Ee Die AN A et A lS LE Tole SR OE hi 


the first time he had ever played on 
anything but a four octave melodian. 

Soon after the Civil War ended there 

were bands formed in East Corinth, 
Kenduskeag, Exeter, Garland, and 
Hudson, all of which were first led by 
Lyman Parkman, who went from town 
to town to teach them. 
_ After Mr. Parkman’s death Addison 
Bragg led the old East Corinth Band 
and he was in turn followed by his 
son, Farmer Bragg. 

George Bean, a fiddler who played 
for dances, was clarinettist in this 
band. 

Alexander (Sandy) Davis, a former 
member of the Queen’s Band in Lon- 
don, went from Belfast to East Machi- 
as and organized the first brass band 
in that town. 

These are the names of those who 
were associated with him as members 
of the band of which he became leader: 

Cyrus Blackman, Elisha Blackman, Elisha 
Chaloner, Jacob Foster, George D. Gaddis, An- 
drew J. Hanscom, Lyman Hall, Oliver Hall, 
Daniel Johnson, Edwin Mallon, Samuel Marsh, 
Henry Maloon, Michael Malaska, Henry Ray- 
mond, Andrew Smith and John Wiswell. 

George Davis Gaddis, the last to 
survive of all those who had been 
members of the Hast Machias Band, 
was nearly eighty-eight years old at 
the time of his death in 1922. He had 
been a blacksmith all his life. 

The Ellsworth Band was another 
band that was in existence before Fort 
Sumpter was fired upon by the Mer- 
rimac. Henry L. Moore, its organizer 
and leader, was acornet soloist of more 
than local repute. When ke died in 
1923 he was in his ninetieth year. 

West Falmouth was a very musical 
place in the sixties and seventies. Be- 
sides an orchestra of fine musicians, 
and a string combination for playing 
chamber music, it supported a small 
but excellent band. Fred Merrill was 
the leader of the organization which 


was known as the West Falmouth Band. 

At the time the Farmington Cornet 
Band was organized (1873) the instru- 
ments for its use were purchased with 
two hundred and fifty dollars, which 
was raised by popular subscription, 
and upon their arrival “they were dis- 
played at the home of Hon J. W. Fair- 
banks to the satisfaction of all musical 
people.” 

Wheeler’s Band, its successor, which 
served the people of Farmington for a 
number of years, came to be, under 
William F. Miner, concert director, 
one of the prominent bands of the 
State. The personnel of this band in 
1928 was as follows: 


Cornets —William F. Miner (Director), Dana 
Robinson, John Varnum, Fred Barton, Carroll 
A. Matthieu, Roy Stinchfield, Clifford Small, 
Jesse Doyen, Gordon Spinney; Flute and Pic- 
colo — Richard Mallett; Clarinets — Henry 
Knapp, Nellie Card, Reginald Whitney, Clinton 
Wright, Arthur Sampson, Merton Knapp, Doris 
P. Miner, Lloyd Constantine, Edwin Brown, 
George Thomas, Edward Blasl; E flat Altos — 
Myron Starbird, George Howland; Saxophones 
— Raymond -Knapp, Carl Milliken, Mildred 
Frederic, Barbara Gammon, A. Lorraine Leith; 
Horns — H. W. MacBurnie (solo), Edward Be- 
saw, Harry Goodwin, Frank Pooler, Chauncy 
Clark; Trombones —Lester Starbird, Carll N. 
Fenderson, Willis Porter, Victor Huart, Tracy 
Stevens, Kenneth A. Rollins, Sherman Averill; 
Baritones — George McL. Presson, W. Raymond 
Davis; Basses — John Gilkey, Jordan Tarbox, 
Charles F. Howland; Snare Drums — George 
Rand, Winifred Chapman, Bertram Starbird, 
Ray Stewart; Bass Drum— George Brown; 
Cymbals — George Mosher. 


The first brass band in Pittsfield 
was organized in 1866 with John 
Green, leader. For four years after 
1877, when the band was reorganized, 
R. A. Conant acted as leader and he 
was followed in 1881 by H. C. Hunter 
who served in that capacity almcst 
continuously for more than _forty- 
seven years. 

In 1928 the personnel and instru- 
mentation of the Pittsfield Band was 
as follows: 


ee, 


350 MUSIC AND’MUSICIANS OF MAINE 


Cornets —H. C. Hunter (leader), J. N. Vail, 
Howard Towle, Leroy Sampson, Eugene Shaw; 
Altos — Carroll Southard, Sidney F. Jones, Ver- 
non L. Shorey, Glendon Brailey, Harold Wood- 
ward; Baritone —A. E. Hunt; Trombones — 
Warren Bean, A. G. Ryan, Leland White, Clifton 
Humphrey, F. H. Haseltine; Basses — Charles 
Small, F. M. Fairbanks, Ray Wright, Cais = 
Hunter; Clarinets — A. W. Gibson, C. G. Snell; 
Snare Drum — Frank Applebee. 

In 1918 Sanford and Springvale 
supported two bands. These were the 
Parish Band, Wilfrid Bernard, Secre- 
tary, and the Sanford Mills Band, 
John Cowburn, Conductor. 

Smith’s Orchestra, William Smith, 
Conductor, was another prominent 
professional organization there at that 
time. 

In 1928 there was but one band in 
Sanford and Springvale. This band, 
known as the Velmo Concert Band of 
Sanford Mills, was led by Fred J. La- 
Vigne with thirty players and modern 
instrumentation. 

The Rumford Band was led for 
some years by Anton Eugene Mai- 
nente, when it was known as the 103rd 
Infantry National Guard Band, but 
in 1925 it was reorganized and for a 
time was directed by Henry M. Gif- 
ford of Portland. Under him it gave 
several concerts in the opera house 
and played at all outdoor events in the 
town. 

The band at the National Soldier’s 
Home, at Togus, Maine, was always 
one of the first concert bands in the 
State. For more than forty-four years 
it was directed by B. W. Thieme, a 
native of Germany and a survivor of 
the Franco-Prussian War. On coming 
to America Professor Thieme took up 
his residence in New York, where he 
played in some of the best bands and 
orchestras to be found in the country. 
Later he settled in Taunton, Mass., 
and became leader of the famous Taun- 
ton Band. After this band had dis- 


solved, on account of hard times, he 


took up his residence in Boston where ~ 
he led the orchestra connected with the — 
Brigade Band. a 
_ The old Winthrop Band was organ- 
ized in 1873 with Daniel Teague, lead- 
er, Other members and instrumenta- 
tion were: 

_ Cornets — Fred Robie, Ronald Mcllroy, El- 
liott Wheeler, Charles Parker, Howard Packard; 
Horns —Zenas Lougee, Marvenus Woodman, — 
Frank Butler, C. W. Hannaford, Edgar Jackson; — 
Baritone — Leeman Butler; Basses — Albert H. — 
Webb, Owen Cobb, Mandeville Boyd; Piccolo — 
a Blunt; Clarinets — John Calmun, Archie 

alker. 


Albert H. Young, who for years was 
known as “Old Zeb Coon,” was the © 
bass drummer in the band, and How- — 
ard Packard, who lived in East Win- — 
throp, was its first instructor. Frank — 
Bowles, a solo B flat cornet player, 
though not a regular member, often 
played with it. John Calmun, wao 
came to be one of the first clarinet — 
players in New England, was after- — 
wards associated with the Togus Band. — 

Reference has been made in another ~ 
chapter to the remarkable voices pos- — 
sessed by some of the men who lived 

; 


in Winthrop in the forties. Four, who ~ 
resided there in the seventies, became — 
members of the Winthrop Band. They — 
organized a quartette with H. E. Gale, — 
first tenor; Ronald C. MclIlroy, second — 
tenor; A. H. Webb, first bass; and 
Marvenus Woodman, second bass. 
These men were splendid singers and 
the quartette brought no little fame 
to the band. For fifteen years the © 
Winthrop Band was probably the — 
most popular in Kennebec County. — 
An earlier Winthrop Band which ~ 
was first taught by Joseph Estey was — 
later led by Charles Glidden. 
The Skowhegan Band was organ- — 
ized in 1859. Its first director was 
A. C. Bradbury, a pupil of Ned Ken- 
dall, who led the band until 1862. 
From an old diary it is learned that | 
. 

} 

; 


% 


7 


=— 


MUSIC OF THE STATE OF MAINE 1897-1928 4361 


Walter Hatch “fluted in the band,” 
John McCrillis was snare drummer, 
Mr. Mitchell was the “fife player” and 
William Plummer, who later became 
its leader, was the “bass player.” 

Morrison’s Orchestra of Skowhegan, 
organized in 1861, was very popular 
and was much in demand for dances 
and social occasions. Almost from the 
date of organization of Skowhegan’s 
first marching musical organization the 
town was not without its band. 

The Citizen’s Band, organized in 
1920, was led by Arthur Plummer in 
1928 and the St. Cecilia Orchestra was 
at that time conducted by Professor 
Abbott Kendall. 

The Gorham Concert Band, organ- 
izen in 1877, gave a number of con- 
certs in that year. 

John T. Merrill of Gray, director 
of music conventions in Cumberland 
County, was also leader of several 
bands, among which were the Gray 
Band and the New Gloucester Band. 

The Kennebunk Band, which was in 
existence in 1928, was led by Arthur 
E. Calder and the other members and 
instrumentation were as follows: 

Cornets — George C. Ward, Archie Little- 
field, Dr. J. H. MacDonald, George R. Spiller, 
Clinton C. Groudy; Altos — Howard T. Burke, 
Willis H. Day, Ralph Cousens; Baritone — Sid- 
ney E. Jennison; Trombones — Oscar A. Mitch- 
ell, Charles W. Dennett, Harry Stansfield; Pic- 
colo—Frank Burke; Clarinets — Roswell A. 
Meserve, Luther A. Jones, Arthur Potter; Saxo- 


phone — Walter R. Cole; Drums — Raymond 
H. Grant, Donald F. Grant, John Nadeau. 


At the time of its organization, Oc- 
tober, 1926, Elmer Redlon was leader 
of the Kennebunk Band. Mr. Calder 
became the leader in March, 1927. 

Older bands in Kennebunk were 
Moore’s Military Band, Frank L. Col- 
lins, leader, and the Kennebunk Mili- 
tary Band, William E. Chandler, lead- 


er. 
Drew’s Waterville Band was organ- 


ized in 1918 by Harry Tilden Drew 
and came to be one of the prominent 
bands in Central Maine. This organi- 
zation, which in 1928 numbered thirty 
men, has been directed by Mr. Drew 
since its beginning. 

The Waldoboro Band, one of the old- 
est, if not the oldest in continuous serv- 
ice in the State, was organized in 1858 
by Newell Winslow who, with his three 
sons, all musicians, formed the nucleus 
of the organization. Mr. Winslow was 
its leader and manager for more than 
twenty years.-At his death the man- 
agement, for a time, was taken by 
Guard Ludwig and he was succeeded 
by I. Gardner Reed who directed the 
band until 1906 when he was followed 
by Walter H. Boggs. The officers of 
the Waldoboro Band, which, at one 
time, was known as the Paragon Button 
Corporation Band, in 1928 were: 

Manager — Walter H. Boggs; Leader — Roy 
Copeland; Secretary and Treasurer — Ernest 
Castner; President — Otis Ellis; 
and the others who comprised its per- 
sonnel were: 

Cornets — Herman H. Kuhn, Claud L. Fitch, 
E. G. Castner, Ernest A. Walter; Altos — Frank 
E. Boggs, Fred G. Boggs, Fred Keaser, Harold 
Glidden; Clarinets — John Greenrose, Luther 
Clark, Aaron Clark, George Croudis, Otis Ellis; 
Trombones — Elmer Wanig, Eugene McLaugh- 
lin, George Olliver; Baritone — Roy Copeland; 


Bass — Walter H. Boggs; Snare Drum — Arthur 
Clark. 


The Waldoboro Band played for 
twenty-one consecutive years for the 
North Knox Fair. 

The old American Band of West- 
brook was at one time one of the best 
known bands in the State. At the 
band muster at Lake Maranacook in 
1890 it played in competition with 
forty-eight bands, which had come 
from all parts of New England, and 
won one of the prizes. The members of 
the band at that time were: 


Howard Babb, George S. Rood, William Dav- 
ie, Edwin W. McLellan, Richard C. Boothby, 


\ 
352 


MUSIC AND MUSICIANS OF MAINE 


Mark E. Allen, Edgar A. Durell, Augustus C. 
Hydrie, Claude Lefeye, Fred W. Babb, Harland 
P. Babb, Edwin A. Richardson, John Sullivan, 
John Minnick, William E. Knowlton, John D. 
Knowlton, George H. Knowlton, Charles A. 
Hurd, Charles A. Carleton, Jr., G. Fred Cook, 
Samuel A. Guimond and J. Melvin Knight. 


Howard Babb was the leader of the 
American Band of Westbrook. George 
Rood, the drum major, who was tall 
and as straight as an arrow, led the 
band with a Civil War musket which 
he handled with great cleverness. 

In 1922 the Westbrook Band was 
led by Charles A. Guimond, a mem- 
ber of Chandler’s Band for twenty 
years. 

The Presumpscot Band of Cumber- 
land Mills was organized in 1889 by 
Tony Clark, who later organized a 
boy’s band known as Tony Clark’s 
Band of Westbrook. The Presump- 
scot Band came to be very popular as 
a parade band. Its membership in 
1892 included: 

Jacob A. Bancroft, Henry W. Anderson, Roy- 
den R. Leighton, Christian Petersen, Joseph Le- 
beau, William Spiller, Hans Smith, Fred L. El- 
well, Charles W. Frank, Fred H. Naylor, Edward 
Thomes, Willard Mayberry, Bertram Lesser, 
Robert W. Debeck, Augustine Rogers, Nathaniel 
A. Blanchard, Henry L. Hendrickson, Walter T. 
Anderson, Herbert Richardson, Ralph E. Tay- 
lor, Frank I. Moore, Lester Verrill, John W. 
Foye, Stephen E. Elwell, James M. Kelly and 
Leonard H. Debeck. 


Frank I. Moore was at one time lead- 
er of the Presumpscot Band. 

For some years the little City of 
Westbrook not only boasted a band 
with a state-wide reputation, and a 
boy’s band, but it claimed the only 
Danish Church Band in the State and 
a Scotch Band of drummers and bag- 
pipers. Rev. C. C. Kloth was the 
leader of the Danish Church Band, of 
which he was also the organizer and 
teacher, and among its members were: 

Alfred Christensen, Cornelius Hansen, Conrad 


Kellar, Rev. C. C. Kloth (leader), Kriver Kloth, 
Irving Neilsen, Paul Neilsen, Christian Neilsen, 


Christian Smith, Henry Thompson and Chris- 
tian Winther. 

The Cumberland Mills Scotch Band, 
named for the northern section of the 
City of Westbrook, was led by Joseph 
Cairns, and the other members of this 
picturesque band in 1927 were: 

Christopher Cairns, John Cairns, Joseph © 
Cairns, Jr., William Cairns, Thomas Cairns, 
Francis MacPherson, Carroll M. Richardson, 
John Smith, Christie Smith, Joseph Smyth. 

One of the most picturesque little 
towns in Maine is Yarmouth, which, in 
1928, had a band numbering forty men. 

Ever since 1857 Yarmouth has had 
its band. The old Yarmouth Band was 
for a short time, during the Civil War, 
attached to the First Maine Regiment. 

The Yarmouth Brass Band, organ- 
ized in 1866, was composed of six vet- 
eran musicians from the volunteer 
army. Samuel Chadbourne was the 
leader and Enos A. Blanchard was di- 
rector and among its first members 
were Edward Raynes, John S. Greeley 
and Charles L. Blake. In 1868 William 
L. Loring became director, but, ten 
years later, when Professor Blanchard 
returned from Boston, where he had 
moved some years before, he again took 
up the directorship. In 1880 Edward 
Raynes was leader of the band and on 
July 5 of the following year, at a band 
tournament held at Lake Maranacook, 
this little band, which consisted of 
eighteen pieces, played its selection in 
such a manner that it thrilled the twen- 
ty thousand people who had assembled 
and won for it the third prize. Those 
who were members of the Yarmouth 
Brass Band at this time, all of whom 
participated in the contest, were: 

Director —E. A. Blanchard; Cornets — Ed- 
ward Raynes, O. A. Mitchell, A. H. Buxton, 
William L. Loring, C. A. Stoddard; Clarinet — 
J. T. Hammon; Altos — Joseph Raynes, Mun- 
roe Stoddard, Albert Grant; Tenors—C. L. 
Blake, Nicholas Grant; Baritone — H. D. Brack- 


ett; Basses —J. S. Greeley, A. H. Humphrey; 
Solo B flat Cornet — A. F. Wyman; Bass Drum 


SS 


MUSIC OF THE STATE OF MAINE 1897-1928 353 


OLD AMERICAN BAND OF WESTBROOK. 
GEORGE KNOWLTON, GEORGE S. ROOD, DRUM MAJOR, R. C. BOOTHBY, MARK ALLEN, FRED BABB, CHARLES 
CARLETON, SECOND ROW-— CHARLES HURD, JOHN MINNICK, AUGUSTUS C. HYDRIE, HOWARD BABB, 


CONDUCTOR, EDWIN A. RICHARDSON, 
G. FRED COOK; 
KNIGHT, SAMUEL A. GUIMOND. 


—Albert Grant; Snare Drum—George B. Stone; 
Cymbals — P. B. Dennison. 


Edward Raynes continued to lead 
the band until his death, January 1, 
1922, since when George E.. Raynes has 
been the director and leader of the Yar- 
mouth Band. 

In 1928 the members and instrumen- 
tation of the Yarmouth Band were as 
follows: 


Director — George E. Raynes; Cornets — Paul 
H. McIntire (solo), George B. Colesworthy, 
Warren E. Winslow, William W. Simonton, Wil- 
liam H. Freeman, Harry H. Colesworthy, Arthur 
W.Goodwin; Altos—John A. Leslie (solo E flat), 
Earl A. Tryon, Walter E. Curtis, Joseph Raynes, 
Harry B. Hodsdon; Trombones — Fred F. Hub- 
bard, Wallace Purinton, George W. Collins, Rob- 
ert C. Peck, James D. Marston, Albert L. Bar- 
bour; Baritones — James E. Bradley, Solon D. 
Conner; Basses — Ralph E. Knight, Alfred W. 
Doughty; Piccolo — John J. Beote; Clarinets — 
Percy C. Chipman, Frank Kimball, William F. 
Croudis, George S. Croudis, J. Burton Gooch, 
William H. Merchant, David E. Loring; Saxo- 
phones — Joseph Warren Raynes, George W. 
Newell, Douglass Hill; Snare Drum — Willett F. 


LEFT TO RIGHT: TOP ROW — CLAUDE LEFEYE, JOHN KNOWLTON, 


HARLAND P. BABB, WILLIAM KNOWLTON, EDGAR A. DURELL, 
FRONT ROW — JOHN SULLIVAN, EDWARD MCLELLAN, WILLIAM DAVEY, J. MELVIN 


Knight; Cymbals — Bernard W. Croudis; Bass 
Drum — Ferdinand M. Corliss. 

The Fay and Scott Band of Dexter, 
whose membership has always been 
comprised largely of the employees of 
the Fay and Scott Machine Shop, was 
organized in 1916 and became especi- 
ally notable, not only on account of its 
being sponsored by an industrial or- 
ganization, but because its leader, for 
more than four years, was a woman. 
Ralph B. Carleton was its organizer 
and for some time its conductor, but, 
from 1924 to 1928, the band was suc- 
cessfully directed by Mrs. Lillian Lu- 
cinda Snell. 

The Dover-Foxcroft Band was for 
some years conducted by Joseph Tay- 
lor, a director of more than ordinary 
ability. 

In 1928 George W. Chaffee, who re- 
ceived his training under United States 
Army and Artillery Band instructors, 
and who had undertaken the leader- 


354 


ship of the Dover-Foxcroft Band in 
1922, was still its conductor. 

Smith’s Vinalhaven Band was one 
of the important bands in Knox Coun- 
ty and from its ranks a number of mu- 
sicians went to play in bands and or- 
chestras of national prominence. In 
1928 the following were members of 
this band: 

Cornets — Joseph Kittredge (leader), Veli 
Holmstrom, Leo Lane, Keith Carver, Scott 
Mills; Clarinets —J. O. Roberts, L. C. Smith, 
Vernard Warren, Max White, Roy Ames, T. 
Holmstrom, Hugh Dyer; Trombones — Kilton 
Smith, George Swears, Earl Calder, W. A. Smith, 
E. A. Smalley; Altos — Neil Calderwood, Wal- 
ter Lyford, Jr., Alfred Creed; Saxophones — 
Bruce Grindle, Fred Chilles, Leon Arey, Harold 
Arey, Arthur Patrick, Elwood Salls; Basses — 


Lee Williams, Louie Merrithew, John Nichols; ’ 


Bass Drum — Bylie Lyford; Snare Drum — Cal- 
vin Vinal; Baritone — Bernard Ericson. 

The Passamaquoddy Indian Band 
is an interesting organization that rep- 
resents only one phase of the develop- 
ment of the musical side of the North 
American Indians. The young men 
and women of the Passamaquoddy 
tribe have inherited their musical in- 
stincts from their aboriginal forbears. 
Many of the Indian maidens, trained 
by, the Sisters of Mercy at the St. 
Anne’s Convent School, became pro- 
ficient on the piano, violin, cornet and 


other instruments, while from the young. 


men of the village was organized a 
small band, among the members of 
which have been: 


Joe W. Dana, Simon Dana, Newell Noel, Steve 
Newell, John Newell, Calvin Austin Nicholas, 
Soctomer Sabattis, Simon Soctomer, Sabattis 
Mitchell, Pete Stanley. 

In 1925 the Passamaquoddy Band 
played its first important engagement 
when it participated at the St. Anne’s 
Catholic Church in the celebration of 


MUSIC: AND MUSICIANS OF MAINE 


the Midnight Mass, when the congre- 
gation, a choir of trained voices, altar 
boys and musicians, was made up of 
Indians, all of whom were of this an- 
cient tribe. 

Class Thirteen of the Sunday School 
of the St. Lawrence Church at Port- 
land, organized by Henry F. Merrill in 
1906, with a membership originally 
composed of seven young men, has 
grown to be not only one of the most 
noted Sunday School Classes in the 
country, but, in 1928, it was the second 
largest in New England. From among 
its seven hundred and twenty members 
a band of forty-five pieces, known as 
the Class Thirteen Band, was organ- 
ized in January of that year. Its lead- 
er was Leroy L. Baker, a native of 
Maine, and organist and a a of 
several ocean steamship bands, includ- 
ing the Steamship Leviathan Concert 
Band. Every member of the Class 
Thirteen Band, in 1928, was affiliated 
with this famous Sunday School Class, 
and among them were solo players from 
the United States Fifth Infantry, Rig- 
by’s and Chandler’s Bands of Portland. 
The Class Thirteen Band was declared 
to be the equal of some of the best 
bands, connected with religious organ- 
izations, in America. 

Other bands in Maine in 1928 were: 

Augusta Cadet Band, Bar Harbor Cadet Band, 
Boothbay Harbor Band, Bucksport Military 
Band, Calais City Band, Camden Cornet Band, 
Danforth Band, Citizen’s Band of Dexter, Rubie 
Band of East Livermore, East Millinocket Band, 
Eastport Band, Guilford Band, Harmony Band, 
Houlton Band, Colonial Band of Kennebunk, 
Eastern Band of Lincoln, Matinicus Brass Band 
of Matinicus Isle Plantation, Milo Military 
Band, Monson Cornet Band, Palmyra Band, 
Newport Military Band, Patten Band, K. of P. 


Boy’s Band of Presque Isle, Waterville Military 
Band, Turner Band, Winterport Cornet Band. 


Bn Renee Bees) Mae 


a ee ee 


Giver TE Rev II 


Tue Music or tue State or Maine 


BioGRAPHICAL SECTION, 1927-1928 


le is fitting in a history of music and musicians of a state, that one chapter 

should be devoted to those who were living at the time of its going to press, 
for the musicians of today are the makers of the musical history of tomorrow; 
and while the names of many, who, in their day, are well known to their con- 
temporaries, would, but for the hand of the historian, be forgotten in a few short 
years, the names of others, who are then but slightly known, may become house- 
hold words to a future generation. 

In either case, available facts of interest in their musical activities are worthy 
of preservation. 

In the following paragraphs will be found brief references to more than eighteen 
hundred Maine musicians and members of musical organizations, nearly all of 
whom were living in 1928, together with the last known address of each. 

References to facts of musical interest in the lives of each of these have been 
made without attempt to praise or to criticize. | 

Below will be found an explanation of some of the abbreviations that occur 
therein. The meanings of other and more commonly used ones are so obvious 
that they require no detailed definition. 

Acad., Academy; b., born; Bapt., Baptist; Cath., Catholic; Ch., Church; chmn., chairman; Coll., 
College; com., committee; condr., conductor; Cong., Congregational; Corr. Sec., Corresponding 
Secretary; d., daughter of; deg., degree; ed., educated at; g.d., granddaughter; g.s., grandson; grad., 
graduate or graduated; H.S., High School; Inst., Institute; m., married; Meth., Methodist; mt., 
music teacher (generally piano teacher); Pres., President; s., son of; sch., school; sem., seminary; 
t., teacher of; Unit., Unitarian; v.t., vocal teacher. 


ter and Clara Poole; piano with Alfred 
Brinkler; sang in concert in New York 
and B. F. Keith Circuit. Address, Colo- 
nial Ave., Portland, Me. 


Allen, Caroline, mem. Maine Festival Cho- 
rus, 20 yrs. Address, Bangor, Me. 


Allen, Mrs. Effie Saunders, pianist, organ- 
ist; b. Mechanic Falls, Me., Feb. 18, 
1877; d. Edward Augustine and Almeda 
Saunders; m. Daniel T. Allen, Sept. 12, 
1908; studied piano with E. W. Hans- 
com, Auburn; Mrs. L. W. Clarke and 
May Hawkes, Mechanic Falls; Mrs. C. 


Aagerson, Elizabeth, m.t. 436 St. John St., 
Portland, Me. 

Adell, M. Louise, m.t. Address, Rumford, 
Me. 

Albling, Sadie, teacher of piano; d. Percy 
and Fannie Albling; studied with Flor- 
ence Libby, Anna Carey Bock and at the 
Curtis Institute of Music, Philadelphia. 
Address, 79 Sherman St., Portland, Me. 


Alden, Zilpha May, organist and teacher 
of piano; b. Sebec, Me.; d. Walter H. 
and Leonora M. Alden; studied with 


Mrs. Elmer Jenkins, University Exten- 
sion Conservatory, normal piano; leader 
of senior choir, Methodist Church; org. 
Park St. Meth. Church; composer, “Oak 
Leaves Reverie.” Res. 17 Park St., Milo, 


A. Stephens, So. Paris; organ, Helen 
Conant, Lewiston. Vocation, teacher in 
public schools. Res., 19 Oak St., Mechan- 
ic Falls, Me. 


Allen, Florence I., m.t. 12 Sawyer St., 


Allen, Blanche Viola, lyric soprano; stud- Portland, Me. 
ied voice with A. R. Frank, Marion Car- Allen, Frank C., b. Portland, Me., Nov. 1, 


355 


Me 


356 


MUSIC AND MUSICIANS OF MAINE 


qe en ee ee 


1870; s. S. Colman and Helen Bailey 
Allen; m. Harriet Libby, June 5, 1895; 
ed. Portland Schools; mem. Masonic 
Order, Active 33rd Scottish Rite; Past 
Pres. Maine Charitable Mechanics Asso.; 
mem. Portland Music Commission, 5 
yrs.; Treas. Cressey & Allen. Vocation, 
merchant, pianos and music merch. Res., 
80 Spruce St., Portland, Me. 


Allen, Mrs. Jerry, m.t. Address, Kendus- 
keag, Me. 

Allen, William C., vocalist (tenor); b. 
Brownfield, Me.; s. Charles G. and Eliz- 
abeth Burbank Allen; m. Clara V. Mor- 
rill; Vice Pres. Western Me. Festival 
Asso.; mem. Portland Club, Portland 
Country Club, Portland Rotary Club. 
Vocation, merchant. Res., 53 West St., 
Portland, Me. 

Ames, Alfred K., mem. Maine Festival 
Chorus, 25 yrs. Address, Machias, Me. 


Ames, Mrs. Alfred K., accompanist, Fes- 
tival Chorus. Address, Machias, Me. 


Ames, Mrs. Ethel Whittier, teacher of 
piano and organ; b. Skowhegan, Me.; d. 
Smith and Almena Towle Whittier; 
studied, N. E. Conservatory, Boston; 
org. Bethany Baptist Church; accom- 
panist, Me. Festival Chorus. Address, 
Skowhegan, Me. 


Ames, Frank S., mem. Maine Festival 
Chorus, 25 yrs. Address, Machias, Me. 


Ames, Morrill H., violin maker. Res., 152 
Pearl St., Portland, Me. 


Ames, Nellie H., accompanist, Festival 
Chorus. Address, Machias, Me. 


Ames, Virginia, violinist, music teacher; b. 
Skowhegan, Me., May 18, 1904; d. Ralph 
W. and Ethel Whittier Ames; ed. Bates 
College, Lewiston, Me.; studied with J. 
A. Kendall, David Fisher, Seldon Crafts; 
mem. Paerian Club and Clef Club, 
Presque Isle, Me.; former mem. Macfar- 
lane Club (Bates College, Lewiston), 
and Philharmonic Club, Lewiston. Res.., 
28 Summer St., Skowhegan, Me. Mail 
Address, Aroostook State Normal School, 
Presque Isle, Me. 


Anderson, Mrs. Frances Drinkwater, solo- 
ist (contralto) ; studied with Sara Peakes 
of Philadelphia, Madame Ravi-Brooks of 
Bangor; soloist Bangor Festival, 1904; 
soloist Central Congregationa! Church, 
Bangor, Bangor Symphony Orchestra. 
Address, Augusta, Me. 


Anderson, Robert D., teacher of banjo, 
mandolin, guitar; b. Portland, Me., Nov. 


9, 1899; s. Stephan J. and Annie M. An- 
derson; studied with Mrs. A. J. O’Brion, 
F. Knapp, S. A. Thompson and Sister 
Evangalista; State organizer and head 
of Me. Chapt. of The American Guild of 
Banjoists, Mandolinists and Guitarists. 
Res., 16 Sherman St., Portland, Me. 

me Clara, m.t. Address, Eastport, 

e. 

Andrews, Miriam B., composer, “Maine.” 
Address, Gorham Normal School, Gor- 
ham, Me. 


Anthony, Aline E., vocalist; mem. Cecilia 
Club, Augusta. Address, Augusta, Me. 


Arbour, Joseph Edouard, instrumentalist 
(slide trombone); b. Joliette, P.Q., Can- 
ada, Dec. 4, 1899; s. Barthelemy and Ce- 
lina Boivert Arbour; ed. public schools 
of Augusta, Me.; studied with Ernest R. 
Hill; mem. Augusta Symphony Orches- 
tra. Address, 47 Washington St., Au- 
gusta, Me. 

Archibald, Annie L., m.t. 
State St., Bangor, Me. 


Archibald, Bernard, pianist; organist Uni- 
tarian Church, Houlton, Me.; chorus di- 
rector. Address, Houlton, Me. 


Arey, R. Mont, soloist (clarinet); b. Vi- 
nalhaven, Me.; s. Rufus and Eliza EIl- 
len Arey; studied under private teachers 
in Boston; solo clarinet player with 
Rochester Symphony Orchestra, Ro- 
chester, N. Y.; formerly mem. Detroit 
Symphony, Philadelphia Symphony and 
Brooklyn Mark Strand Orchestras. Ad- 
dress, Rochester, N. Y. 


Armstrong, Grace, violinist. Address, Rock- 
land, Me. 


Armstrong, Inez F., accompanist, Festival 
Chorus. Address, Waterville, Me. 


Armstrong, J. J., conductor, Festival Cho- 
rus. Address, Wilton, Me. 


Armstrong, Louise Holden, pianist; b. 
Portland, Me.; d. Walter S. and Mary 
Yeaton Armstrong; studied music with 
Alice Philbrook; Librarian Portland 
Rossini Club; mem. MacDowell Club; 
former mem. Portland Festival Chorus. 
Address, 78 High St., Portland, Me. 


Armstrong, Mrs. Molly M., violinist; b. 
Portland, Me.; d. Robert and Sara Mul- 
lern; m. Harvard M. Armstrong; ed. 
Portland Schools; studied with David 
Fisher and Catherine Patrick; mem. 
Rossini Club Orchestra. Vocation, Assist- 
ant Postmaster, Cape Cottage, Me. Ad- 
dress, Cape Cottage, Me. 


Address, 18 


BIOGRAPHICAL SECTION—1927-1928 357 
oo  t—“*##;# 


Armstrong, Mrs. W. H., vocalist, music 
teacher. Address, 23 Park St., Rockland, 
Me. 

Arris, Lois Goddard, teacher of piano; b. 
Auburn, Me., Dec. 29, 1898; d. Edward 
H. and Ella H. Goddard; m. Harold B. 
Arris, Feb. 3, 1921; studied with Eman- 
uel Wad of Peabody Inst., Baltimore; 
mem. Philharmonic Club of Lewiston 
and Auburn. Address, Danville, Me. 


Atherton, Mrs. Lilla, conductor, Festival 
Chorus. Address, Dover-Foxcroft, Me. 


Atherton, Myles, accompanist, Festival 
Chorus. Address, Dover-Foxcroft, Me. 


Atwood, Frank R., Pres. Bangor Festival 
Chorus (mem. more than 20 yrs.). Ad- 
dress, Bangor, Me. 


Atwood, Mrs. Frank R., mem. Bangor 
Festival Chorus more than 20 yrs. Ad- 
dress, Bangor, Me. 


Auger, A. L., m.t. Address, 66 Third St., 
Auburn, Me. 


Averill, Mrs. Albert E., accompanist, Fes- 
tival Chorus. Address, Rockland, Me. 


Averill, Mrs. Louise, mem. Me. Festival 
Chorus, 20 yrs. Address, Old Town, Me. 


Avigliana, Mlle. Giovanna, soloist and 
concert artist; b. Gardiner, Me.; d. Jo- 
seph and Mary Carr Armstrong; ed. 
private schools, Gardtner, Me., and grad- 
uate of St. Joseph’s Academy, Emmetts- 
burg, Md., at age of 15; studied with 
Pedro de Abella, Francesco Lamperti 
(Italian Opera); sang in opera in 25 
Italian cities, 30 different operas; stu- 
dent and professional life in Italy covered 
a period of about Io yrs.; sang the role 
of Donna Elvira in Don Giovanni with 
Adelina Patti at Covent Garden, Lon- 
don; studied oratorio with Sir George 
and Lady Macfarren; appeared in Judas 
Maccabeus with the Sacred Harmonic 
Society of London; other engagements 
in oratorio in Glasgow, Birmingham, 
Newcastle and other English and Scot- 
tish cities. Vocation, vocal teacher. Ad- 
dress, 89 St. James Ave., Boston, Mass. 


Axelsen, Edmund A., mem. Warren Male 
Quartette. Address, Westbrook, Me. 


Bachelin, Mrs. Joseph, m.t. Rumford, Me. 


Bacon, Harry, mem. Portland Municipal 
Orchestra (1st violin). Address, Port- 
land, Me. 

Bagley, Mrs. Alice Parkman, teacher of 
piano and cornet; b. Charleston, Me.; d. 
Lyman and Rowena (Stiles) Parkman; 


m. George Bagley, Oct. 4, 1902; ed. Bos- 
ton, Mass.; studied piano with Prof. 
Tufts, Mrs. Colton and Edith Damon 
Clark; cornet, R. B. Hall and H. C. 
Brown of Boston; organist 15 yrs. at 
Methodist Church, East Corinth; cornet 
soloist Methodist Church, Pittsfield 
(1918); teacher of piano in Bangor for Fs 
yrs. and has been leader of numerous 
orchestras; at present organist at Bap- 
tist Church, East Corinth. Address, 
Maine St., East Corinth, Me. 


Bagley, Sarah Farnham, teacher of piano, 
voice, harmony and other theoretical 
subjects; b. Woolwich, Me.; d. William 
Henry and Laura Barnes Bagley; ed. 
Mrs. Potter’s School for Young Ladies, 
Everett, Mass.; graduate N. E. Conser- 
vatory of Music, 1907; studied piano 
with Carl Stasny, Carl Baermann, Louis 
C. Elson; theory and composition with 
George Chadwick and organ with Hen- 
ry Dunham; taught 7 yrs. Me. Wesleyan 
Sem.; former mem. Handel and Haydn 
peers Boston. Address, Woolwich, 

e. 

Bailey, Mrs. Arthur, vocalist. Address, 

887 Forest Ave., Portland, Me. 


Bailey, Bessie, mem. Festival Chorus, 25 
yrs. Address, Bangor, Me. 


Bailey, Mrs. Tabor, vocalist; mem. Bach 
Choir, Bangor. Address, Bangor, Me. 


Baird, Mildred Louise, teacher of piano; b. 
Turner, Me., Nov. 23, 1894; d. Charles 
H. and Grace Holman Webb; m. Elmer 
L. Baird, Sept. 1, 1017; studied with 
Grace Rogers; pianist Pittsfield Festival 
re for 2 yrs. Address, St. Albans, 

e. 

Bakeman, Helen. School Music Super- 
visor. Address, Kennebunk, Me. 

Baker, Charles E., vocalist (bass); former 
mem. High St. Congregational and Sec- 
ond Parish Church Choirs and Portland 
Men’s Singing Club; treas. Milliken 
Tomlinson Co. Address, 307 Commer- 
cial St.; res., 369 Danforth St., Port- 
land, Me. 

Baker, Hilda, violinist; mem. Portland 
Rossini Club. Address, 8 Chapel St., So. 
Portland, Me. 

Baker, Richard M., vocalist (tenor); mem. 
Portland Men’s Singing Club. Address, 
g1 Lincoln St., Portland, Me. 

Baker, Rev. William C., vocalist (tenor); 
b. Worcester, Mass., Oct. 20, 1863; s. 
Joseph and Martha Jane (Perrin) Baker; 
ed. at Conference Seminary, East Green- 


358 MUSIC AND MUSICIANS OF MAINE 


wich, R. I.; mem. of East Maine Confer- 
ence; pastor at Troy, No. Vassalboro, 
Vassalboro, Searsmont, So. Thomaston, 
Spruce Head, Hartland, St. Albans, 
Sheepscot, Maine Conference, Fryeburg 
Harbor, Chatham, N. H., Orr’s Is., 
Bailey’s Island, Wayne, No. Wayne, 
No. Augusta, West Scarboro, Gorham 
and Chicopee. Address, Gorham, Me. 


Baldwin, Clinton D., vocalist (tenor); b. 
Verona, N. J., May 23, 1874; s. DeWitt 
C. and Anna F. Baldwin; ed. San Fran- 
cisco; m. Carrie S. Cook, Jan. 23, 1895; 
studied with Prof. Percy A. R. Dow; 
mem. First Meth. Episcopal Church 
Choir, Pine St., Bangor; formerly leader 
Wesleyan Chorus. Vocation, purchasing 
agent, Bangor and Aroostook R. R. Ad- 
dress, 348 State St., Bangor, Me. 

Baldwin, Louise (see Mrs. Alberto Ran- 
degger). 

Ball, Mary E., teacher; b. East Corinth, 
Me.; d. Benjamin and Lettice (Whit- 
more) Ball; studied under Madam Zim- 
merman and others; organist, East Cor- 
inth Church in 1856; has been connected 
with the Baptist Church Choir at inter- 
vals as organist for a period of more 
than so yrs. Address, Pleasant Place, 
Waterville, Me. 


Ballard, Charmanatta Patricia Adollo, 
music teacher, violinist, pianist, cornet- 
tist; b. On the High Seas, June 11, 1889; 
d. Col. Edward H. and Nancyetta Thyng 
Ballard; ed. St. Catherine’s Academy, 
Montreal, Canada; St. Joseph’s Acad- 
emy, Portland, Me.; studied piano with 
Hermann Kotzschmar, Harvey Murray, 
Portland; studied violin with David E. 
Fisher, Portland, Prof. Pullen, Bangor, 
and Matusayi, New York; cornet with 
B. W. Thieme, and Levy and Hartmann 
of N. Y. City; mem. Fadettes and Bos- 
tonia Ladies’ Orchestras; mem. Riedle 
Demming Band, Worcester, Mass.; In- 
structor of Music and Languages; Pro- 
fessional Astrologer. Res., 65 Spring St., 
Apt. 6, Portland, Me. 


Banks, Mrs. Frank, org. Jefferson St. Bap- 
tist Church. Address, Biddeford, Me. 


Barker, Georgia, m.t. Address, Presque 
Isle, Me. 


Barker, Ruth Wilkins, vocalist; b. Presque 
Isle, Me., Oct. 5, 1891; d. Charles H. and 
“Annie Kempton Wilkins; m. Emerald J. 
Barker, Aug. 21, 1917; ed. Aroostook 
-State Normal School; studied music with 
Mrs. Lou Upham and Mrs. J. Hollis 


- Lindsay; mem. choirs at Presque Isle 


and Houlton Congregational Churches; 
Treas. Houlton Music Club. Address, 
22 Bowdoin St., Houlton, Me. 


Barnard, Herbert W., Jr., vocalist (tenor) ; 


b. Calais, Me., Aug. 28, 1865; s. Herbert 
W. and Ellen Young Barnard; m. Edith 
Megquier; ed. Calais, Me.; studied with 
William H. Dennett; mem. First Parish, 
Congress Square and High St. Church 
Choirs; charter member Portland Men’s 
Singing Club; mem. Portland Music 
Commission; Treasurer, Burnham & 
Morrill Co. Res., 64 Neal St., Portland, 
Me. 


Barnes, Annie M., vocalist, pianist; b. Nor- 


way, Me., April 17, 1871; d. Albert and 
Louise (Lakin) Richardson; m. Charles 
P. Barnes, Aug. 19, 1896; ed. Norway 
High School, A. B. Colby College, 1894; 
studied with Madame Scalar (Minnie A. 
Plummer); Librarian Houlton Music 
Club; formerly teacher of piano; partic- 
ipated in Chapman Concert in Norway, 
IOIO-I1; men W. Gl Uy ae 
O. E. S., Am. Leg. Aux., Sigma Kappa, 
Houlton Woman’s Club, Mayflower De- 
scendents, American Association Univ. 
Women, Guardian Camp Fire Girls. Ad- 
dress, 108 Main St., Houlton, Me. 


Barnes, Charlotte, m.t. Address, 456 Ham- 


mond St., Bangor, Me. 


Barnes, Helen Mary, music supervisor; b. 


South Paris, Me., May 7, 1891; d. Thom- 
as S. and Harriett Evelyn Barnes; ed. 
American Institute of Normal Methods, 
Lasell Seminary, Auburndale, Mass.; 
studied with Howard Stevens, Henrietta 
Rice, C. Y. Arthurs; mem. Congrega- 
tional Church Choir, So. Paris (mezzo- 
soprano); mem. Maine Supervisors of 
Music Asso. Address, 3 High St., So. 
Paris, Me. 


Barnes, Mrs. M. D., mem. Me. Festival 


Chorus, 30 yrs. Address, Bangor, Me. 


Barnes, Samuel Norman, vocalist (bass); 


b. Todmorden, Yorkshire, England, Nov. 
16, 1882; s. John William and Sarah 
Stott Barnes; m. Rose Ina Harvey, July 
21, 1909; ed. public schools England and 
Haverhill, Mass., Shaw’s Business Coll., 
Portland, Me.; member vested male 
choirs from age of 7 in England to close 
of year 1920 (31 yrs.); member of quar- 
tet, Free Baptist Church, Portland, Me., 
1921-1922; Westbrook Congregational 
Church, 1923, 1924, 1926, 1927-8; charter 
member, Portland Men’s Singing Club; 
Treas. 1922-1925; mem. American Le- 


nn Sle 


Pr Bic sepia Ga a Rate igs SPN RS a ah ll 


BIOGRAPHICAL SECTION—1927-1928 


gion, Polyphonic Society of Portland, 
Choral Art Society. Vocation, Manu- 
facturer’s Agent. Address, 42 Prospect 
St., Portland, Me. 


Barnett, Mrs. Floyd L. (Helen Bradbury), 
pianist; mem. Portland Rossini Club. 


Address, 1223 Congress St., Portland, 
Me. 


Barney, Mrs. G. Mortimer (Lou Duncan 
Barney), vocalist (soprano); b. Rock- 
land, M 
and Helen Adams Duncan; m. George 
Mortimer Barney, Jan. 10, 1893; studied 
with Clara Smart, Anna Granger Dow 
and William R. Chapman; priv. mem. 
Portland Rossini Club; soloist at the 
first Maine Musical Festival Concert on 
program with Lillian Nordica. Ad- 
dress, 93 State St., Portland, Me. 


Barnum, Mrs. Grace Haskell, concert solo- 
ist (soprano); b. Portland, Me.; studied 
with Errani and Madame Ashforth of 
New York. Address, Brooklyn, N. Y. 


Baron, Harry Morris, violinist; b. New 
York, Dec. 31, 1908; s. Max and Rose 
Baron; studied with L. G. Fenderson. 
Vocation, clerk. Address, 344 Main at 
Lewiston, Me. 


Barrett, Lew L., m.t. (drums). 129} Wood 
St., Lewiston, Me. 


Bartlett, Mrs. Charles, Honorary Member 
Philharmonic Club, Auburn-Lewiston. 
Address, Lewiston, Me. 


Bartlett, James Carroll, vocalist (tenor), 
concert artist; b. Harmony, Me., June 
14, 1850; s. Cyrus and Sarah Butler 
Bartlett; m. Alice Hamant, Jan. 6, 1897; 
ed. N. E. Conservatory; studied with 
Emery, Osgood, O’Neill and Shakspere; 
mem. Camilla Urso Concert Co. (1875- 
6), Careno Sauret Co., Barnabee Con- 
cert Co., soloist Old West Church, Unity 
Church and Berkeley Temple, Boston, 
Harvard Church, Brookline, Plymouth 
Church, Worcester, King’s Chapel, Bos- 
ton, Plymouth Church, Chicago; soloist 
at Arlington St. Church, Boston, since 
1900. Address, Main St., Medfield, Mass. 


Bartlett, Vera, m.t. Address, 24 Quincy 
St., Portland, Me. 

Barton, Llewellyn, former mem. Me. Fes- 
tival Chorus. Address, Naples, Me. 


Bass, Albert E., Dir. Eastern Maine Musi- 
cal Association. Address, Bangor, Me. 


Bass, Mrs. J. R., Pres. Festival Chorus, 
Wilton, Me. 


e., April 17, 1868; d. Alphonso. 


359 


HON. PERCIVAL P. BAXTER. 


Bass, Mrs. W. S., accompanist, Festival 
Chorus. Address, Wilton, Me. 


Bates, Alice, mem. Me. Festival Chorus, 
25 yrs. Address, Calais, Me. 


Bates, Emily J., m.t.; mem. Me. Festival 
Chorus, 25 yrs. Address, Calais, Me. 


Bates, John D., Vice Pres. St. Croix of 

ao Festival Chorus. Address, Calais, 
e. 

Bates, Martha Cameron Shaw, teacher of 
piano and organ, supervisor of public 
school music; b. Paisley, Scotland, Sept. 
15, 1900; d. John L. ‘and Jessie Bates; 
studied with Mrs. John Shaw and Carrie 
F, Luce of Bath, ‘Gorham Normal 
School and the Northampton Institute 
of Music Pedagogy, Northampton, 
Mass.; began as organist and choir di- 
rector at the First Baptist Church of 
Bath, at age of fifteen; mem. Mendel- 
ssohn Club. Address, 28 Andrews Road, 
Bath, Me. 


Baxter, Percival Proctor, organist; b. 
Portland, Me., Nov. 22, 1876; s. James 
Phinney and Mehetabel Cummings 


360 


Beardsworth, Nellie, m.t. 


Proctor Baxter; ed. Portland Public 
Schools, Eton H. O. Sch., London, Eng.; 
Bowdoin College (B.A.) and Harvard 
Law School (sL.B:); studied with 
Harvey Murray and Latham True; or- 
ganist Bowdoin College, Brunswick, 
Me., during college years; mem. Har- 
vard Club of Boston and New York, 
Cumberland Club, Portland, and Port- 
land Country Club; Governor of Maine, 
1921-24; activities, political. Res., I9! 
Pine St.; 0., 22 Monument Sq., Portland, 
Me. 


’ Bean, Elwood L., violinist; b. Vienna, Me., 


April 19, 1901; s. Albert F. and Ollie 
Curtis Bean; ed. Kent’s Hill Sem.; stud- 
ied with E. R. Hill, Augusta, Me.; mem. 
Augusta Symphony Orchestra. Voca- 
tion, chemist. Address, 39 Oak St., Au- 
gusta, Me. 


Bean, Mrs. Gladys M., vocalist; mem. Port- 
land Women’s Choral Society. Address, 
16 Beacon St., Portland, Me. 


Beane, Robert Edward, violinist; b. Ma- 
chias, Me., April 1, 1880; s. Joshua F. 
and Lydia (Crandelmire) Beane; m. 
Sadie M. Beaulieu, Oct. 12, 1912; ed. 
Augusta, Me.; studied with Harry 
Perry; mem. Augusta Symphony Or- 
chestra (1st chair); served in City Gov- 
ernment; Dir. Augusta Chamber of 
Commerce, 4 yrs.; State Commander 
Maccabees, 1921-25; mem. Masons, 
Shrine, Layman’s League. Vocation, 
Assistant General Supervisor of the 
Maccabees. Address, 2 Weston St., Au- 
gusta, Me. 


Address, 148 
Beacon St., Portland, Me. 


Beauchaine, William J., violinist; b. Hal- 
lowell, Me., 1893; s. Leopold and Rosie 
Beauchaine; m. Leonida Cloutier; ed. 
public schools, Hallowell; studied with 
W. F. Kerr; Pres. Augusta Symphony 
Orchestra. 1925-26; mem. Rotary Club. 
Vocation, Manager Western Union Tel- 
egraph Co., Augusta, Me. Address, 24 
Green St., Augusta, Me. 


Beaudet, Arthur J., piano teacher and or- 
ganist; b. Spalding, Mich. March 22, 
1895; s. Frank and Virginia Beaudet; 
ed. Rumford and Montreal; studied 
piano with Prof. Rigby in Rumford, 
with Prof. Anton Devoto at the New 
England Conservatory, Boston; studied 
organ with Joseph Jacob at the Institute 
of France, Paris, France (1927); organ- 
ist and choir leader of St. Jean Baptiste 


MUSIC AND MUSICIANS OF MAINE 


Church, Rumford. Address, 151 Frank- 
lin St., Rumford, Me. 


Beauparlant, Emile J., teacher of piano, 


soloist; b. Haverhill, Mass.; s. John B. 
and Lydia M. Beauparlant; ed. Haver- 
hill, Mass.; m. Florilda Simard; studied 
with James W. Hill; musical director of 
orchestra. Address, 86 College St., Lew- 
iston, Me. 


Beck, Mrs. Evelyn T., Pres. Staff Club, 


Washburn. Address, Washburn, Me. 


Beck, Stella Glover, vocalist (soprano); b. 


Sumner, Me., Sept. 12, 1878; d. William 
R. and Mary R. Glover; m. Eugene I. 
Beck, May 8, 1904; ed. public schools, 
Livermore Falls, Me.; studied with Mrs. 
Carrie Joselyn and Prof. Mower, of Au- 
burn; mem, Turner Federated Church 
Choir; sec. United Circle of the Fed- 
erated Church, Turner, Me.; mem. Tur- 
ner Grange; former mem. Maine Music 
Festival Chorus. Address, Turner, Me. 


Belanger, Charles Eugene, youngest or- 


ganist in America; b. 1914; s. J. O. Be- 
langer; began to play organ at age of 
nine; organist St. Mary’s Church, Lew- 
iston; plays every Sunday for 8 o’clock 
Mass for children’s choir; composes and 
improvises. Address, 124 Lincoln St. 
Lewiston, Me. 


Belanger, Joseph O., Lic. Mus., music 


teacher, organist, saxophone soloist; b. 
Sherbrooke, Que., Canada, Jan. 20, 1880; 
s. Georges and Celanire Baillargeon 
Belanger; m. Corinne Lapointe, Oct. 7, 
1909; ed. St. Charles Seminary, Sher- 
brooke; studied organ with Florence 
Wells; singing with Alex Clerk, Mon- 
treal; harmony and composition with 
Alfred Wooler, Buffalo; Licenciate of 
the Dominion College of Music, Mon- 
treal; honorary mem. of L’Orpheon; 
organist at St. Mary’s Church, Lewis- 
ton; former mem. of the Harmony Band 
of Sherbrooke (saxophone); composer 
Mass in B flat, La Jongleuse Waltz, Ide 
Fantansie de Concert, Valse Caprice in 
G flat, Marche des Seminaristes, “Reine” 
March, Corinne Waltz, Paul Emile 
Waltz, O Salutaris (soprano solo), Tan- 
tum ergo in D flat (bass solo and quar- 
tette), Tantum ergo in B flat (alto 
solo), and chorus and about one hun- 
dred more not published. Address, 124 
Lincoln St., Lewiston, Me. 


Belanger, Mrs. Joseph O. (Corinne), vo- 


calist (soprano); b. St. Alexandre, P.Q.; 
d. Ulderic and Clarisse Lapointe; stud- 


ee ee eT ee 


tO eT 


— Se 


BIOGRAPHICAL SECTION—1927-1928 361 


ied voice with Hanscom; soloist St. 
Mary’s Church Choir; Pres. Foyer Mu- 
sical, Lewiston. Address, 124 Lincoln 
St., Lewiston, Me. 


Belinian, Asneve Alice, vocal teacher, 
soloist (coloratura soprano); b. Arme- 
nia, April 20, 1884; d. Jacobs and Flora 
Camagian-Cameron; m. S. John Belin- 
ian, July 10, 1900; ed. Constantinople 
and Paris; studied with Frederick 
Waterman, Sara Peaks, Mr. Spencer 
and Edward Larsen; former mem. Ban- 
gor Music Festival. Address, 30 Larkin 
St., Bangor, Me. 


Bell, Mrs. Leah, m.t. Address, Winthrop, 
Me. 


Belleau, Adrienne, harpist. Address, Lew- 
iston, Me. 


Belleau, Blanche E., m.t. 343 Sabattus St., 
Lewiston, Me. 


Bennett, Mary Harriet, organist, teacher of 
piano; b. Kennebunk, Me., Feb. 3, 1901; 
d. John H. and Alice Milliken Bennett; 
ed. Northfield Seminary; studied with 
Heinrich Gebhard; org. Cong. Church, 
Kennebunkport, and later at Kennebunk; 
mem. Schubert Club and Kennebunk Busi- 
ness Girls Asso. Address, 58 Summer 
St., Kennebunk, Me. 


Bennett, Mildred, School Music Super- 
visor. Address, Freeport, Me. 


Bernard, Manual, pianist; studied in Italy, 
with Elizabeth Strauss of N. Y. City, 
and at Institute of Musical Art, N. Y. 
Address, Rockland, Me. 


Bernauer, Francis Stephens, musical edi- 
tor; b. Gaines, Pa., s. Joseph B. and Mary 
E. (Champney) Bernauer; ed. Oberlin 
Meade 5.1). B.b.; m: at Chica- 
go, Ill., Feb. 11, 1913; editor and pub. 
Songs of Reality, Choice Revival Songs; 
Mason, I. O. O. F., Clergyman. Res., 33 
Maple St., Oakland, Me. 


Berrie, Mrs. Dora Lavina, (soprano); 
church singer; b. Nixon, New Bruns- 
wick, March 10, 1876; d. H. L. and Julia 
Powers Dryden; m. Perley S. Berrie, 
Oct. 4, 1899; ed. Normal School, Fred- 
ericton, N. B.; studied with Evans Bar- 
nett, Hillsboro, N. B.; mem. choir and 
soloist at Baptist Churches in Hillsboro 
and Moncton, N. B., and Houlton, Me.; 
mem. Houlton Music Club, Houlton 


Woman’s Club. Address, North St., 
Houlton, Me. 
Berry, Edward F., Secretary, Festival 


Chorus. Address, Rockland, Me. 


Berry, Ethel, mem. Portland Polyphonic 
Society, MacDowell Club and Marston 
Ede Res., 113 Winter St., Portland, 

e. 

Berry, Faith Greenhalgh, organist; b. Cas- 
tine, Me., June 24, 1881; d. Charles B. 
and Matilda J. McKenzie Greenhalgh; 
m. Edward F. Berry, Sept. 15, 1914; ed. 
public schools, Rockland; studied with 
Mrs. Gertrude Davis, Henry M. Dun- 
ham, and Carl Baermann of N. E. Con- 
servatory; organist First Baptist and 
Congregational Churches, Rockland; 
Pres. Rubinstein Club; pianist and con- 
ductor of Wight-Philharmonic Society. 
Res., 25 Grove St., Rockland, Me. 


Berry, Gertrude E., soloist (alto); b. Port- 
land, Me.; d. Ingalls H. and Harriet 
Higgins Berry; ed. public schools, Port- 
land; studied with W. H. Dennett, Wil- 
liam L. Whitney, Henrietta D. Rice, 
Rupert Neily; mem. First Parish Choir, 
Portland, 28 yrs.; mem. Rossini Club; 
first pres. MacDowell Club, also Wom- 
an’s Choral Society. Address, 830 Wash- 
ington Ave., Portland, Me. 


Berry, Mrs. Harold Lee (Violetta Brown), 
vocalist; priv. mem. Portland Rossini 
Club. Res., 97 State St., Portland, Me. 


Berry, W. P., mem. Augusta Symphony 
Orchestra. Address, Augusta, Me. 


Berryman, Mrs. Mabel M., vocalist, pian- 
ist; mem. Women’s Choral Society. Ad- 
dress, 24 Orange St., Portland, Me. 


Best, Miriam, teacher of piano; b. Fre- 
mont, No. Carolina; d. George D. and 
Flora Crews Best; ed. Littleton Col- 
lege; Southern Conservatory of Music, 
Durham, N. C.; graduate of Faelten 
Pianoforte School, Carl Faelten, private 
teacher; mem. Cecilia Club, Augusta, 
and counsellor Junior Cecilia Club; for- 
mer mem. MacDowell Choral Club, 
Tuskegee, Ala.; Music Study Club, Bir- 
mingham, Ala.; Women’s Music Club, 
Bellingham, Wash.; Washington State 
Music Teachers’ Assn.; Bellingham Mu- 
sic Teachers’ Assn. Accredited piano 
teacher in State of Washington. Ad- 
dress, ro Winter St., Augusta, Me. 


Beverage, Mrs. Lottie H., m.t. Address, 
North Haven, Me. 


Bewley, Bessie Windle, soprano soloist 
and vocal teacher; b. No. Turner, Me., 
1887; d. Henry and Estelle Keene 
Windle; m. John Bewley, 1908; studied 
with Maine and Mass. Teachers; mem. 
United Baptist Church; soloist, quartet 


362 MUSIC AND MUSICIANS OF MAINE 


soprano, Auburn and Lewiston; mem. 
Rossini Club, Portland, Philharmonic 
Club, Lewiston, D. A. R. and B. P. W. 
Club. Summer res., Cape Elizabeth. 
Studio, 27 Deake St., So. Portland, Me. 


Bibber, Mrs. Frank C., vocalist; priv. mem. 
Portland Rossini Club. Address, East- 
land Hotel, Portland, Me. 


Bird, Dora Frances, pianist, vocalist (con- 
tralto); b. Rockland, Me., Jan. 23, 1873; 
d. Charles J. and Ellen Pendleton Jame- 
son; m. A. Judson Bird, Sept. 16, 1891; 
studied with Mrs. Louise Furbish, Mrs. 
Mae Pendleton Nichols and Mrs. C. B. 
Shaw; mem. and past pres. Rubinstein 
Club; mem. Philharmonic Club; with 
daughter, Nettie Bird (Frost), organ- 
ized the Harmony Club. Address, 48 
Camden St., Rockland, Me. 


Bird, Maria Tibbetts, organist, teacher of 
piano; b. Rockland, Me., May, 1854; d. 
Alpheus Chandler and Fidelia Elisabeth 
Farron Tibbetts; m. Augustus David 
Bird, Oct. 21, 1880; ed. public schools 
Rockland, Me.; studied with Mrs. E. 
Wight, C. B. Shaw, Eugene Thayer of 
Boston and Prof. Schench, of Baltimore, 
Md.; org. St. Peter’s Church, Rockland, 
Me.; mem. Philharmonic, Rubinstein 
Clubs and Maine Festival Chorus; Pres. 
Beethoven Club; composer, accompanist. 
Address, 40 Camden St., Rockland, Me. 

Birnie, Mrs. Gladys, mem. Women’s Cho- 
ral Society. Address, 164 Coyle St., 
Portland, Me. 

Bishop, Charlotte C., vocalist (soprano); 
b. Brunswick, Me., Nov. 6, 1903; d. Rob- 
ert S. Corey; m. Francis P. Bishop, June 


27, 1925; ed. Brunswick, Me.; mem. 
Military St. Baptist Church Choir, 
Houlton; mem. Houlton Music Club. 


Vocation, housekeeper. Address, High 


St., Houlton, Me. 


Blackwell, Charles H., vocalist (tenor); 
mem. Kotzschmar Club, Portland, Men’s 
Singing Club, Portland Polyphonic So- 
ciety, First Parish Church Choir. Voca- 
tion, special agent, Me. Central Railroad. 
Res., 176 Deering Ave., Portland, Me. 


Blair, Lyman, Dir. Eastern Maine Musi- 
cal Association. Address, Greenville, Me. 


Blaisdell, Inez Dustin, organist; b. Dexter, 
Me., Jan. 7, 1882; d. Frank E. and Ella 
L. Dustin; m. Ernest D. Blaisdell, June 
27, 1906; ed. Dean Academy, Franklin, 
Mass.; studied with R. B. Hall, A. W. 
Kimball and M. E. Blanchard; mem. 
Laura E. Ross’ Orchestra (flute); or- 


ganist All Souls Church; mem. Business 
and Professional Women’s Club. Voca- 
tion, bookkeeper and stenographer. Ad- 
dress, 35 Alba St., Portland, Me. 


Blake, Cornelia Shaw, pianist; b. Harrison, 
Me.; d. Francis and Cornelia E. Blake; 
studied with Hermann Kotzschmar and 
Geo. W. Marston. Address, “Lawn 
Crest,” 24 Poplar St., Melrose, Mass. 


Blake, Edith R., m.t. Address, 485 Cum- 
berland Ave., Apt. 13, Portland, Me. 


Blake, Helen Pettengill, vocalist; b. Mon- 
mouth, Me.; d. Weston and Orianna 
(King) Pettengill; m. Carleton F. Blake, 
Sept. 11, 1917; ed. Augusta and Boston 
Lyceum School; studied with Eva Har- 
riett Stone; Lyceum and. Chautauqua 
concert artist under the name of “The 
Carletons”’; mem. Monmouth Cong. 
Church and Togus Soldiers’ Home 
Choirs. Address, 11 Colonial St., Wa- 
terville, Me. 

Blanchard, Edward G., teacher of cornet. 
Res., 69 Mountfort St., Portland, Me. 


Blanchard, Lucy N., honorary mem. Port- 
land Rossini Club. Address, 151 East 
81st St., New York. 


Blanchette, Jeannette, violinist; b. Lewis- 
ton, Me.; d. Evangeliste and Marie Loui- 
ser Blanchette; studied with Angelina 
Simard and Josafa Morin; mem. St. 
Mary’s Church Choir; mem. Musical 
Literary Club. Address, 11 Roak St., 
Auburn, Me. 


Bliss, Alfred Veazie, organist; b. Bangor, 
Me., Jan. 23, 1872; s. Charles E. and 
Louise A. (Tyler) Bliss; ed. Bangor H. 
.; A.B., Bowdoin, 18094; S.1.B:, -An- 
dover Theo. Sem.; pastor, Cong., Lud- 
low and Tyson, Vt., 1898-1903, Plym- 
outh Cong., Utica, N. Y., 1903-1900, 
Taunton, Mass., 1911-21; Dist. Sec. Am. 
Missionary Assn., Boston, 1921-25; Supt. 
Cong. Conf. and Missionary Soc. of Me., 
1925-; chapel organist Bowdoin Coll. 
1891-94; Andover Sem., 1894-97; mem. 
Delta Kappa Epsilon Frat.; Mason; 
Portland Cong. Club, Boston City Club. 
Res., 122 Pine St.; 0., 95 Exchange St., 
Portland, Me. 


Blodgett, Ellen, vocalist (soprano); mem. 
First Parish Church Choir and Mac- 
Dowell Club. Res., 14 Spruce St., Port- 
land, Me. 

Blood, Charles Virgil, vocalist (baritone) ; 
b. Willimantic, Me., Aug. 20, 1896; s. 
Charles H. and Ella Kincaid Blood; m. 
Ola M. Fairbanks, Nov. 27, 1919; ed. 


BIOGRAPHICAL SECTION—I9Q27-1928 363 


Foxcroft Academy and University of 
Maine; studied with J. K. Springall, Jo- 
seph Taylor, H. Foster, and Adelbert 
Sprague; mem. Universalist Church 
Choir, Dover-Foxcroft Military Band 
(drums) and the Quintette and Big Five 
Orchestras. Vocation, Jeweler. Address, 
18 Spring St., Dover, Me. 

Blouin, Exilia M., vocalist; mem. Phil- 
harmonic Club, Lewiston and Auburn. 
Address, Lewiston, Me. 


Boardman, Mrs. Elizabeth C., mem. Fes- 
tival Chorus, 25 yrs. Address, Calais, 


Me. 

Boardman, Harold §., Dir. Eastern Maine 
Musical Association. Address, Orono, 
Me. 


Bock, Anna Carey, teacher of piano, con- 
cert artist; b. Boston, Mass., Sept. 22, 
1896; d. Thomas A. and Mary E. Carey; 
Pees ctiiueo Bock, M.D., Nov. to, 
1919; graduate Portland High School 
and St. Elizabeth’s Academy, Portland; 
studied with Sister Evangelist, Dr. La- 
tham True; Stern Conservatory, Berlin 
(3 yrs.), taking regular piano course, 
harmony, ensemble playing; also studied 
with Krause, Rudolph Ganz, Buonamici, 
Hans Ebel, Mason, Mrs. J. Lhevinne; 
and harmony with Leslie Loth; mem. 
Rossini Club, MacDowell Club and Mar- 
ston Club. Res., 254 Spring St., Port- 
land, Me. 


Bodwell, Mrs. R. H., Sec. Cecilia Club. 
Address, Augusta, Me. 


Boggs, Walter H., instrumentalist (E flat 
paces 8). 50.) nomaston, Me., July 11, 
1886; s. George and Catherine Walter 
Boggs; m. Augusta L. Brown; studied 
with T. H. Rollinson, John Flockton 
and W. S. Ripley; mem. Waldoboro 
Band; Dis. Deputy, L. O. of M.; former 
mem. E. Boston Cadet Band and Wal- 
tham Crescent Band. Address, R. F. D. 
No. 3, Waldoboro, Me. 


Boisvert, Blanche MRacicot, teacher of 
piano, soloist; b. Coaticooke, P.Q., Can- 
ada; d. Dr. D. F. and Leda Vallee Raci- 
cot; m. Antonio E. Boisvert, Feb. 10, 
1915; ed. Ursuline Convent, Stanstead, 
and Mont Ste. Marie, Montreal; studied 
with Edward Clarke, Biddeford, J. A. 
Bermier from Academie de la Musique 
de Quebec and Latham True, Portland; 
mem. Biddeford Thursday Club; Lau- 
reate of L’Academie de Musique de 
Quebec. Address, 249 Main St., Bidde- 
ford, Me. 


Bolster, Mabel Owen, vocalist (contralto) ; 
Db. buxton, Me: d)-Prot,- E> J.cand ;Jo- 
anna Lord Owen; m. Lester Bolster, 
April 28, 1898; ed. public schools, Bux- 
ton; studied with C. R. Cressey, Anna 
Owen and Mrs. Towles; mem. Music 
Festival Chorus. Address, Freeport, Me. 


Bolton, Laura, acc., Festival Chorus. Ad- 
dress, Presque Isle, Me. 


Bond, Mrs. George, mem. Bach Choir, 
Bangor. Address, Bangor, Me. 


Bonfillio, Helen, m.t. Address, 26 A St., 
Portland, Me. 


Bonney, Katharine Bradford, vocalist; b. 
Livermore, Me., April 8, 1882; d. Frank- 
lin Bradford and Alice Raynes Bige- 
low; m. Luther I. Bonney, June 20, 
1908; ed. Leavitt Institute and Normal 
Training School, Lewiston; studied with 
Alice Morton, West Newton, and Ru- 
pert Neily, Portland, Me.; former mem. 
choir St. Stephen’s Episcopal Church, 
Middlebury, Vt.; mem. choir Williston 
Church, Portland; mem. Middlebury 
Choral Society, Women’s Double Quar- 
tet, Fortnightly Club, Portland; Vice 
Pres. Women’s Choral Society. Ad- 
open Surfsite Road, South Portland, 

e; 

Bonney, Luther Isaac, vocalist (bass); b. 
Turner, Me., Sept. 17, 1884; s. Charles 
Allen and Cora Merrill Bonney; m. 
Katherine B. Bigelow, June 20, 1908; 
ed. Leavitt Institute, Bates College; 
mem. choir Williston Church, Portiand, 
Me.; mem. Portland Men’s Singing 
Club, Acacia Male Quartet; formerly 
asst. dir. Middlebury College Glee Club; 
former mem. St. Stephen’s Episcopal 
Church Choir, Middlebury, Vt. Voca- 
tion, life insurance. Res., Surfsite Road, 
So. Portland. Mail address, 82 Ex- 
change St., Portland, Me. 


Bonney, Mrs. Susan, vocalist; mem. Wo- 
men’s Choral Society. Address, 51 Co- 
lumbia Road, Portland, Me. 


Bonsey, May, m.t.; acc., Me. Festival Cho- 
rus, mem. 28 yrs. Address, Ellsworth, 
Me. 

Booker, Mrs. Anna Parks, vocalist; mem. 
Women’s Choral Society. Address, 46 
St. Lawrence St., Portland, Me. 


Boothby, Mrs. Alfred M., vocalist (alto); 
mem. Portland Festival Chorus; Coun- 
cillor since 1919. Address, 19 Melbourne 
St., Portland, Me. 

Boothby, Mrs. Ethel H., mt. 
Gorham, Me. 


Address, 


364, MUSIC AND MUSICIANS OF MAINE 


Borden, Mrs. Rose, m.t.; acc., Me. Festival 
Chorus. Address, Skowhegan, Me. 


Boucher, Ralph A., instrumentalist (trum- 
pet, cornet, French horn); b. Lewiston, 
Me., Jan. 29, 1903; s. Treffle and Marie 
Breton Boucher; ed. Auburn, Me.; stud- 
ied with A. W. Cote and Charles John- 
son; mem. Lewiston Symphony Orches- 
tra, Watson’s Orchestra and Plummer’s 
Orchestra; mem. Institute Jacque Car- 
tier. Vocation, musician. Address, 3 
Pulsifer St., Auburn, Me. 

Boulette, Joseph T., m.t. 
Water St., Waterville, Me. 

Bourke, Charles E., m.t. Address, Augus- 
ta, Me. : 

Boutin, Phelonise, organist. Address, Old 
Town, Me. 

Bowdoin, Rosabelle, m.t. Address, Milo, 
Me. 

Bowen, Martha Edith, church and concert 
singer; b. Fitchburg, Mass., Nov. 14, 
1870; d. Andrew and Mary (Eaton) Rus- 
sell; m. J. W. Brown, 1890; 2d, B. L. 
Rich, 1896; 3d, H. H. Bowen, Sept.’ 3, 
1925; est. Camp Overlook, Georgetown, 
Me., 1923; mem. Eastern Star, Daughter 
of Rebekah, Fitchburg Woman’s Club. 
Res., Camp Overlook, Georgetown, Me. 


Bowers, Mrs. John W. (Alice Maude 
Allen), harpist; associate mem. Port- 
land Rossini Club. Res., 614 Highland 
Ave., So. Portland, Me. 


Address, 165 


Bowker, Mrs. Hazel Shaw, teacher of 


piano; b. Winthrop, Me., Sept. 19, 1887; 
d. Chester H. and Rose Jackson Shaw; 
m. Thomas E. Bowker, Jan. 20, 1914; 
studied piano with Carl Jean Tolman, 
Frank L. Rankin and voice with Frances 
MacNichol; org. First Parish Unitarian 
Church and Universalist, Belfast, and 
mem. choir (soprano) Cong. Church, 
Belfast; mem. Belfast Musical Society 
and former mem. Clef Club of Lewiston, 
Me. Summer home, Winthrop, Me. Ad- 
dress, 20 Miller St., Belfast, Me. 


Box, Ethel Wentworth, vocalist (mezzo 
soprano); b. Boothbay Harbor, Me.; d. 
Benjamin and Sarah Wentworth; m. 
Harry Box, Sept., 1916; ed. College of 
Fine Arts, Syracuse University, N. Y.; 
teacher of voice and piano, in Lexing- 
ton; organist; mem. of National Organ- 
ists Association. Address, 256 Kentucky 
Ave., Lexington, Ky. 

Box, Harry, vocalist, concert artist 
(tenor); b. Birmingham, England, Dec. 
1, 1887; s. Thomas H. and Ellen Box; m. 


Ethel Wentworth, Sept. 2, 1916; studied 
with private teachers; winner in State 
of Maine Contest National Federation 
of Music Clubs and winner $200 Schol- 
arship Chicago Musical College; Evan- 
gelistic Singer in U. S. and Canada. Ad- 
Se: 256 Kentucky Ave., Lexington, 


y. 

Boyd, Mrs. Manlius W. (H. Marie), or- 
ganist and vocalist (soprano); b. Hal- 
lowell, Me., Sept., 1839; d. Henry W. 
and Elizabeth Stanwood Locke Decker; 
studied with Emerson and Wetherbee, 
Boston; organist Universalist Church, 
Hallowell, and mem. of old choir. Ad- 
dress, 57 Winthrop St., Augusta, Me. 


Boynton, Mrs. Alice, m.t. Address, 537 
Congress St., Portland, Me. 


Boynton, Mrs. Florence W., vocalist; Vice 
Pres. and one of the founders of the 
Annie Louise Cary Club, Gorham; di- 
rector of church music in the State Fed. 
o: ae Clubs. Address, Boothbay Har- 

or, Me. 


Brackett, Rowena, m.t. Address, 117 Gra- 
ham St., Biddeford, Me. 

Bradford, Carrie Mae, teacher of music; b. 
Union, Me.; d. John L. and Aurie Keith- 


Bradford; ed. Maine Wesleyan Conser-— 


vatory, Kent’s Hill Seminary; studied 
with John Orth; teacher of piano, 
Kent’s Hill, 1904-7; Director Music 
Dept. Oak Grove Seminary, Vassalboro, 
1907-15; mem. Cecilia Club; Pres. Ken- 
nebec’ Co. (W.-C, “Tiles ie oe 
Water St., Augusta, Me. 


Bradford, Clara Walker, vocalist (mezzo- 
soprano); b. Benson, Vt., Aug. 8, 1808; 
d. Rufus R. and Anna Lou Walker; m. 
Rev. W. P. Bradford, April 5, 1917; ed. 
Troy Conference Academy, Vt.; studied 
with Grace Gunnison, Troy, N. Y.; 
mem. Old South Congregational Church 
Choir; mem. Current Events Club and 
the Cecilia Musical Club of Augusta. 
Address, 53 Middle St., Hallowell, Me. 


Bradford, Edith, coach and teacher of pi- 
ano and voice; studied with George W. 
Marston of Portland and Whelpley, Bos- 
ton. Address, Pierce Building, 12 Hunt- 
ington Ave., Boston, Mass. 

Bradford, Mrs. Maude, Treas. Livermore 
Falls Festival Chorus. Address, Live;- 
more Falls, Me. 

Bradley, Etta Swett, vocal teacher; b. 
Skowhegan, Me., March 19, 1892; d. 
Timothy Fogg and Mary Elizabeth 
Swett; m. Harold W. Bradley, Oct. 3, 


= 


BIOGRAPHICAL SECTION—1927-1928 365 


1910; studied with Mrs. Philo Steward 
and T. A. Schroeder; formerly soloist 
(soprano) at Congregational Church, 
Skowhegan; soloist at First Parish 
Church, Milton, Mass.; mem. Rebekah 
Lodge. Address, 14 Maine Ave., Somer- 
ville, Mass. 


Bradley, William V., vocal teacher, solo- 


ist (tenor); b. Falmouth Foreside, Me., 
Aug. 21, 1895; s. Frank M. and Melissa 
Kimball Bradley; m. Ella Gould, Dec. 
31, 1918; ed. public schools, Portland, 
Me., Portland, Ore.; studied with How- 
ard R. Stevens, Henrietta D. Rice and 
Rupert Neily, all of Portland, Me., and 
Gio Tyler-Taglieri in Portland, Ore.; 
former mem. solo quartette First Univ. 
Church, Portland, Ore., and Trinity 
Epis. Church of Portland, Ore.; toured 
South and West as first tenor Knicker- 
bocker Four (male quartette) from that 
city; since I919 has been connected with 
various church choirs in Portland, Me., 
in succession as follows: mem. Willis- 
ton Church Quartette; choir director 
Church of Messiah; choir director First 
Baptist Church; mem. solo quartette Im- 
manuel Baptist Church; soloist and choir 
director St. Lawrence Cong. Church, 
1926; mem. Portland Men’s Singing 
Club, Kotzschmar Club, Masons, Odd 
Fellows. Studio, 562 Congress St.; res., 
31 Vesper St., Portland, Me. 


Bragdon, Mrs. Frank J. (Jennie King 


Morrison), concert artist, music teacher, 
vocalist (contralto); b. Portland, Me.; d. 
Jairus Keith and Sarah Goold (Lewis) 
King; m. Arthur B. Morrison, 1879; 
Frank J. Bragdon, 1901; studied with 
William H. Dennett of Portland, Frang- 
¢on Davies, New York, Agremonte, 
New York, Signor Vannucini, Flor- 
ence, Italy, Monsieur de Trabadello, 
Paris, Prof. Henry Stanley, London; 
mem. First Parish Church Choir, Port- 
land, 1880 to 1883; Congress Square 
Universalist Church Choir, 1883-1896; 
mem. choir Church of the Divine Pater- 
nity, New York, 1898-1901, and sung at 
its dedication; mem. Second Parish 
Church Choir; mem. Advisory Board 
Portland Rossini Club; mem. Portland 
Festival Chorus; sang 2nd alto for one 
year with the Boston Ariel Ladies’ Quar- 
tette; former mem. Cecilia Quartette, 
organized in 1881, and toured the coun- 
try as soloist with same; afterwards 
member Portland ‘Concert Company and 
the Cecilian Ladies’ Quartette. Address, 
535 Cumberland Ave., Portland, Me. 


JENNIE KING BRAGDON, CONTRALTO. 


Bragdon, Marguerite, xylophone soloist 


and drummer; b. Christiania, Norway, 
July 7, 1894; d. Lewis and Josephine 
Gilickson; ed. public schools of Kenne- 
bunk, Me.; studied with Howard N. 
Shaw; teacher drums, bells and xylo- 
phone; mem. Laura E. Ross’ Ladies 
Orchestra; mem. Katherine Hawkins’ 
Orchestra of Brockton, 1918-20, and the 
Fadettes of Boston; mem. Business and 
Professional Women’s Club Orchestra, 
Portland, 1922. Address, 12 Vail St.; 
studio, 537 Congress St., Room 12, Port- 
land, Me. 


Bragg, Franklin E., Dir. Eastern Maine 


Musical Association. Address, Bangor, 
Me. 


Bragg, Ina Mae (Guptill), piano teacher, 


organist; b. Gouldsboro, Me.; d. Amos 
Everett and Josephine Lydia (Martin) 
Guptill; m. Dr. J. Sumner Bragg, Dec. 
12, 1906; ed. Hans Schneider Piano 
School, Providence, R. I.; organist Bar 
Harbor Baptist Church, 1904-6; accom- 
panist Bar Harbor Choral Society, 1902- 
5. Address, 67 North Adams St., Man- 
chester, N. H. 


Bragg, Olive, pianist. Address, Rockland, 


Me. 


366 MUSIC AND MUSICIANS OF MAINE 


ace ne 


Brandon, Mrs. Grace Hall, concert violin- 
ist; b. Portland, Me. Address, 34 Spruce 
St., Maplewood, Malden, Mass. 

Brann, Edward, vocalist (bass); soloist 
Sacred Heart Church. Address, 148 
Washburn Ave., Portland, Me. 

Brann, Mrs. Ethel F., m.t. Address, China, 

Nee Nees 

Bratt, Gustav W., vocalist (tenor); mem. 
Portland Men’s Singing Club and Port- 
land Polyphonic Society. Address, 74 
Munjoy St., Portland, Me. 

Braun, Cora W., vocalist; b. Millville, N. 
B., Aug. 6, 1908; d. Ernest and Eleanor 
P. Braun; ed. Aroostook State Normal 
School; studied music with Mrs. Wil- 
liam Jenkins, Houlton; mem. choir 
United Baptist Church and mem. Houl- 
ton Music Club. Vocation, teacher. Ad- 
dress, 69 Pleasant St.. Houlton, Me. 


Brazier, Carleen Merle, supervisor of mu- 
sic in public schools; b. Warrenton Park, 
Glencove, Me., May 25, 1897; d. Her- 
bert N. and Clara W. Brazier; ed. N. E. 
Conservatory of Music; studied with 
Samuel Cole and William Tyler; voice 
with Edith Castle; mem. Rubinstein 
Club and Harmony Club of Rockland. 
Me. Address, Warrenton St., Glencove, 
Me. 

Brearey, Alice M., vocalist. Address, San- 
ford, Me. 


Brearey, Gordon, organist and teacher of 
piano and organ; b. Sanford, Me., April 
21, 1895; s. Oswald and Edith (Taylor) 
Brearey; m. Ethel Elizabeth Graves, 
Nov. 11, 1918; ed. Sanford, Portland and 
N. Y. City; studied piano with Sidney Sil- 
ber Sherwood School of Music, Chicago, 
Ill., Frank L. Rankin, A. K. Virgil; or- 
gan with David McWilliams, Clement 
R. Gale and Lynnwood Farnam; organ- 
ist, Episcopal Church, Sanford, St. 
George’s Memorial Church, Rumson, N. 
J.; organist and choirmaster, St. Luke’s, 
Jamestown, N. Y., St. Peter’s, Geneva, 
N. Y., and Trinity Church, Williams- 
port, Pa.; mem. Masons, Blue Lodge 
and Chapter. Address, Trinity Church 
House, Williamsport, Pa. 


Bremon, Mrs. C. Eugene, pianist; mem. 
MacDowell Club. Address, 566 Preble 
St., So. Portland, Me. 


Bremon, Florence Alsena Vaillancourt, 
vocalist (soprano); b. Boston, Mass.; d 
O.and Harriett Harmon Vaillancourt; m. 
Mortimer N. Bremon, Sept. 27, 1899; ed. 
So. Portland, Me., Chicagoand Oak Park, 


Ill.; studied with Henrietta Rice, Rupert 
Neily, Music Dept. Moody Institute and 
Chicago Training School; Pres. Mars- 
ton Club, 1920-21; mem. Rossini Club, 
Marston Club, Women’s Choral Society, 
Festival Chorus and Women’s Literary 
Union; teacher of vocal and instrumen- 
tal; church soloist. Res., 42 Mitchell 
Road, So. Portland, Me. 


Brennick, Helena A., m.t. Address, Rum- 
ford, Me. 


Breton, Octave, m.t. Address, 554 Wash- 
ington St., Bath, Me. 


Brewer, Arthur Roland, teacher of piano; 
b. Bar Harbor, Me. Nove 24;)t000.-s: 
Fred J. and Georgia Hodgkins Brewer; 
mem. Northeastern University Band 
(alto); ed. University of Maine; studied 
with Louise L. Fernald; mem. Social 
Science Club of Northeastern Engineer- 
ing School. Address, 124 Cottage St., 
Bar Harbor, Me. 


Brickett, Nellie Letice, organist, teacher 
of piano; b. Bangor, Me.; d. Rinaldo B. 
and Fannie Patten Wiggin; m. James A. 
Brickett; studied with W. C. Kimball 
and George W. Marston; formerly or- 
ganist at Baptist Church, So. Paris (18 
yrs.); mem. Euterpean Club. Address, 
East Main St., So. Paris, Me. 


Bridges, Mrs. Adelbert, vocalist; mem. 
os Choir, Bangor. Address, Bangor, 
e. 


Briggs, Mrs. George A. (Cora Skillings), 
composer, organist, teacher of piano; b 
So. Paris, Me., May 13, 1859; d. Frank 
H. and Ellen Dunn Skillings; m. George 
A. Briggs, April 22, 1876; studied har- 
mony with Stephen A. Emery, Boston, 
and piano and organ with Kotzschmar 
and Hanscom; organist First Congrega- 
tional Church, So. Paris, for forty-eight 
years; accompanist for many of best ar- 
tists in concerts; piano soloist; first pres. 
and organizer, Euterpean Musical Club 
of So. Paris; composer of “Hold Thou 
My Hand” and about eighty sacred 
songs and anthems, published. Address, 
So. Paris, Me. Mail address, 29 Lake- 
ville Place, Jamaica Plain, Mass. 


Briggs, Ruby Clark, vocalist (soprano); b. 
Brunswick, Me., 1887; d. William D. and 
Ella F. Clark; m. Chester A. Briggs, 
July 14, 1914; grad. Hebron Academy; 
studied with L. B. Cain, Portland School 
of Music and Washington College; mem. 
choir Cong. Church, So. Paris, Court St. 
Baptist, Auburn, and Mechanic Falls 


i a ee 


BIOGRAPHICAL SECTION— 1927-1928 367 


Chs.; mem. Mechanic Falls Study Club, 
Rebekah, Colfax Lodge, Eastern Star 
Granite Lodge. Supervisor school music. 
Address, 50 Pleasant St., Mechanic Falls, 
Me. 

Bright, June Lowell, correspondent and 
local representative of “Musical Amer- 
ica”; b. Bangor, Me., June 27, 1885; d. 
Joseph Mason and Nellie (Chapman) 
Bright; ed. Dean Academy, Franklin, 
Mass., and Bangor Kindergarten Train- 
ing School; studied with J. Dudley Hall, 
Boston; corresponding secretary, Schu- 
mann Club. Res., 765 Hammond St., 
Bangor, Me. 


Brinkler, Alfred, teacher organ, piano and 
harmony; b. Ramsgate, England, May 
2, 1880; s. George B. and Mary (Smith) 
Brinkler; m. Beatrice Bartol Banks, 
Aug. 5, 1913; studied piano, organ and 
choir training with Henry J. B. Dart; 
organ and composition with Dr. T. 
Haigh of Ramsgate, England; organist 
St. Mary’s Church, Minster, Eng., 1898- 
1902; St. Matthew’s Cathedral, Dallas, 
Texas, 1902-5; St. Luke’s Cathedral, 
1905-15, and St. Stephen’s Church, Port- 
land, 1915-27, and St. Luke’s since 1927; 
composer, Suite in A, Grand Choeur 
and Capriccio for organ, organ pieces 
and anthems; conductor Portland Men’s 
Singing Club, Polyphonic Soc.; chair- 
mae, tottiand Br. N. E. Chapt. Am. 
Guild Organists; Asso. Royal College 
of Organists, London, 1899; Fellow Am. 
Guild of Organists, 1905; mem. Kotzsch- 
mar Club, Portland Soc. of Art, Port- 
land Club, Economic Club. Address, 104 
Park St., Portland, Me. 


Brinkler, Mrs. Alfred, mem. Portland Ros- 
sini Club and Portland Polyphonic Soci- 
ety. Address, 104 Park St., Portland, 
Me. 

Bristol, Fred E., vocal teacher; b. Brook- 
field, Conn., Nov. 4, 1839; s. Eliud and 
Mary (Sherman) Bristol; taught sing- 
ing 62 yrs.; Prof. of Singing, Coburg 
Royal Opera School, Germany, 6 sea- 
sons; Bridgeport, Conn., 4 yrs.; New 
Haven, Conn., 9 yrs.; conducted sum- 
mer sch. Martha’s Vineyard, Mass., 22 
seasons; Bristol Studio, Harrison, Me., 
I5 seasons. Res., 466 West 153d St., N. 
Y. City. Summer home, Harrison, Me. 


Brooks, Aldana, instrumentalist (violon- 
cello); b. Portland, Me., May 27, 1911; 
d. Gerry Lynn and Mildred Brooks; 
studied piano with Nellie Beardsworth 
and Raymond Crawford; cello with Mrs. 


Bertha Nichols, Boston; mem. Portland 
Muncipal Orchestra; student. Address, 
242 Bradley St., Portland, Me. 


Brooks, Charles M., bandsman; b. Fort 
Preble, Me., Aug. 8, 1859; s. James Mad- 
ison and Anastatie Butler Brooks; m. 
Aramede M. Thayer, Sept. 12, 1882; ed. 
South Portland; studied with C. Grim- 
mer and F. Burnham; mem. Chandler’s 
Band and Brooks’ Orchestra (cornet); 
mem. Athletic Club, Shrine Club, I. O. 
O. F., Lincoln Club, Sons of Veterans, 
G. A. R. (honorary member), Masons, 
Portland Musicians Asso. Vocation, 
salesman. Address, 68 Exeter St., Port- 
land, Me. 


Brooks, Laura Emelyn, organist, teacher 
Ore pio: b,0150.' Paris, _Me.,.. July: 21, 
1904; d. Leon A. and Rose Starbird 
Brooks; ed. Bates College; studied with 
Stella Burnham, So. Paris, and Seldon 
Crafts, Lewiston; mem. choir Methodist 
Church, So. Paris, and substitute organ- 
ist; mem. Euterpean Club; Chapel Or- 
ganist at Bates College, 1925-26. Ad- 
dress, 48 Hill St., So. Paris, Me. 


Brown, Cora, m.t. Address, Caribou, Me. 


Brown, Dr. C. P., vocalist (bass); mem. 
Portland Festival Chorus. Vocation, den- 
tist. Address, 5 Deering St., Portland, 
Me. 

Brown, Elizabeth M., vocal teacher, solo- 
ist (soprano); b. Augusta, Me.; d. Jo- 
seph Lowell and Mary Getchell (Hilton) 
Brown; ed. Boston, Portland, Paris, 
Florence; studied with William Den- 
nett, Charles R. Adams, Vannucini, 
Sbriglia and Mdme. Clara Smart of Bos- 
ton; concert artist with Cecilian Concert 
Company for many years; priv. mem. 
Marston Club and its former president; 
former mem. Rossini Club, Festival 
Chorus, Ladies Cecilian Quartette and 
Haydn Asso. Summer Home, Farming- 
ton, Me. Address, 655 Congress St., 
Portland, Me. 


Brown, Evelyn Lord, teacher of piano; b. 
Auburn, Me., June 21, 1900; d. George I. 
and Bertha R. Brown; ed. public schools 
of Auburn; studied with Prof. E. W. 
Hanscom; organist High St. Methodist 
Episcopal Church; mem. Philharmonic 
Club. Address, 1 Oak St., Auburn, Me. 


Brown, Frances Gertrude, pianist, cellist, 
accompanist; b. New Bedford, Mass., 
Dec., 1906; d. Walter S. and Minnie F. 
Brown; ed. Gorham Normal School; 
studied with Eunice Church and Mrs. 


368 MUSIC AND MUSICIANS OF MAINE 


a rn ener Le 


Clarence Arey, New Bedford, and, Jo- 
seph Korda, Portland: mem. choir Gor- 
ham Cong. Church; former mem. Junior 
Music Club, New Bedford; mem. Treble 
Club, New Bedford, and Annie Louise 
Cary Club, Gorham; Sec.-Treas. G. N. 
S. Orchestra. Vocation, teacher, Gor- 
ham Normal School. Address, 950 
Pleasant St., New Bedford, Mass. 


Brown, Mrs. Frederick B., vocalist (con- 
tralto); studied with Henrietta D. Rice; 
soloist at Methodist Church, Westbrook, 
and in 1927 at Woodfords Cong. Church. 
Address, 27 Hillis St., Portland, Me. 


Brown, Gail Ridgway, violinist; b. Galion, 
Ohio; d. Dr. N. B. and Belle Davis 
Ridgway; m. Prof. Sydney Barlow 
Brown, Sept. 4, 1921; ed. Oberlin Col- 
lege and Conservatory of Music; stud- 
ied with Fritz Kreisler in Berlin and 
London; Prof. of Violin and Music His- 
tory, Knox Conservatory of Music, 
Galesburg, Ill., 1914-21; Instructor of 
Violin and Piano, Cornell College, Mount 
Vernon, Iowa, 1907-10; mem. Faculty of 
Western Institute of Dramatic Art, 
Denver, Col., 1912-13; mem. Illinois 
State Teachers’ Asso., I917-21; com- 
positions, A Song of Summer, May 
Dance, Snowflakes, Venetian Serenade, 
Winter Winds, Swedish Cradle Song 
(transcription), pub. by Arthur P. 
Schmidt Co., Boston; violin and piano 
compositions, Danse Rustique, In 
Dreamland, October Rain, April Song, 
Dancing Butterflies; violin and organ, 
Invocation; songs, In the Heart of a 
Tree, and If I had Wings. Address, 85 
Wood St., Lewiston, Me. 

Brown, Mrs. Glenroy, violin teacher and 


Pres. Harmony Club of Lincoln, Me. 
Address, Lincoln, Me. 


Brown, Grace Hayford, organist; m. Wil- 
liam B. Brown, Oct. 10, 1918; organist, 
25 yrs., Foss St. M. E. Church, Bidde- 
ford; mem. M. E. Church Choir and or- 
ganist, Nazarene Church, Livermore 
Falls. Address, Church St., Livermore 
Falls, Me. 

Brown, Helen Nevens, teacher of piano; b. 
Lewiston, Me., July 3, 1808; d. George D. 
and Ella M. Nevens; m. Robert Parme- 
lee Brown; ed. Beechwood, Penn., Mt. 
Ida School, Boston, and at Fox-Buona- 
mici School of Pianoforte, Boston; stud- 
ied with Felix Fox, Dean Jensen and 
Carlo Buonamici; former mem. Episco- 
pal Church Choir, Lewiston, and Phil- 
harmonic Club; mem. First Baptist 


Church Choir and Cecilia Music Club, 
Flint, Mich. Address, 708 Garland St., 
Flint, Michigan. 


Brown, Mrs. Joseph E. (Grace M.), vocal- 


ist (soprano); b. Bangor, Me., Sept. 26, 
1879; d. Frank O. and Susan Gordon 
Buzzell; m. Joseph E. Brown, Oct. 21, 
1902; studied with Aline Glass of Ban- 
gor and Alice Garrigue Mott of N. Y.; 
soprano in Unitarian Quartette, Io yrs.; 
soloist, St. John’s Episcopal Church, Ban- 
gor; 2nd Vice Pres. and mem. Board of 
Dir. Y. W. C. A.; mem. Norumbegr Club, 
Bach Choir; former mem, Schumani 
Club and Bangor Festival Chorus. Ad- 
dress, 56 Norfolk St., Bangor, Me. 


Brown, Lewis Ronello, composer, violin- 
ist, clarinetist; b. West Freeman, Me., ~ 


Aug. 7, 1876; s. Lewis and Nancy J. 
Brown; m. Mary W. Milliken, Aug. 7, 
1906; studied with Fred Given and 
George Towle; mem. Portland Munic- 
ipal Orchestra; leader Bar Mills Band, 
4 yrs., and a students’ orchestra of 150 
pcs. in Boston, Mass., 2 yrs.; composer, 
“Sunshine of My Old New England 
Home,” “Old Home Week,” “Fabiola.” 
Ha 1466 Forest Ave., Portland, 
e. 


Brown, Mrs. Merle S., vocalist; mem. Wo- 


men’s Choral Society. Address, 109 
Danforth St., Portland, Me. 


Brown, Mrs. Ruth, m.t. Address, So. Ber- 


wick, Me. 


Brown, William Bourne, vocalist (bass); 


b. Jay, Me., 1874; s. Augustus D. and 
Mary D. Brown; m. Grace L. Hayford, 
Oct. 10, 1918; ed. Kent’s Hill and Uni- 
versity of Maine; studied with Miss 
Beulah Small; mem. with three brothers 
of male quartette; treas. Livermore Falls 
Festival Chorus, 7 yrs.; mem. since 1808; 
mem. choir Livermore Falls M. E. Church 
since 1898. Address, 59 Church St., Liv- 
ermore Falls, Me. 


Brown, Zilda Jennings, Mus. Bac., pianist, 


organist, composer; b. Farmington, Me., 
Nov. 27, 1891; d. J. Eugene and Flora 
Jennings Brown; ed. Farmington State 
Normal; studied with Mabel Austin, 
Latham True and composition and har- 
mony in Chicago; organist, First Uni- 
tarian Church, Farmington; mem. Old 
South Ensemble; composer of songs 
and smaller compositions; mem. Nordi- 
ca Memorial Association. Vocation, 
teacher. Address, 36 High St., Farming- 
ton, Me. 


BIOGRAPHICAL SECTION—1927-1928 369 


Browne, Mrs. Charles S., Vice Pres. Ce- 
cilia Club. Address, Augusta, Me. 


Browne, Edna Cobb Tibbetts, orranist, vo- 
calist (alto); b. Rockland, Me., Dec. Io, 
1886; d. William Farrow and Alice Cobb 
Tibbetts; m. Alexander B. Browne, June 
21, 1908; studied with Lillian Sprague 
Copping, Mabel Holbrook, Maria T. 
Bird and Mae Pendleton; mem, Episco- 
pal Church Choir, Rockland; mem. 
Wight Philharmonic Society, 28 yrs.; 
mem. Rubinstein Club, 4 yrs.; mem. Me. 
Festival Chorus, 27 yrs. Address, 31 
Gay St., Rockland, Me. 


Brunelle, Arthur, violinist and teacher of 
violin for 25 yrs.; mus. dir. of “Le Mas- 
cotte,” “Olivette,” “Chimes of Norman- 
dy,” “Romeo and Juliet,” by Lewiston 
and Auburn talent; hobby, repairing old 
violins. Address, 78 Bartlett St., Lew- 
iston, Me. 

Bryant, Beatrice, violinist; d. Mr. and Mrs. 
Ralph C. E. Bryant; mem. B. P. W. En- 
semble. Address, Arlington St., Port- 
land, Me. 


Bryant, Margaret S., vocalist (alto) ; mem. 
Portland Festival. Chorus, 30 yrs. Ad- 
ee 349 Cumberland Ave., Portland, 

e. 

Buck, Mrs. Austin, Pres. Nordica Club, 
Fort Fairfield, Me. Address, Fort Fair- 
field, Me. 


Buck, Eleanor Barrett, teacher of piano, 
concert pianist; b. Bangor, Me.; d. Jo- 
seph Edward and Eleanor Lyon Buck; 
studied with Mme. Helen Hopekirk, 
Carl Engel and John Orth. Address, 7 
East Summer St., Bangor, Me. 

Buck, Mrs. Mona, m.t. Address, Houlton, 
Me. 

Buckley, Abbie A., organist, Sixth St. Con- 


gregational Church. Address, Auburn, 
Me. 
Bucknam, Arthur, composer; author of 


“The Purple Cafe.” In collaboration 
with Sidney Toler wrote and produced 
“The Dream Trail.” Vocation, Sales- 
man. Address, 97 Mussey St., So. Port- 
land, Me. 

Bucknam, Mrs. Arthur E. (Jennie W.), 
soprano soloist; mem. choir Trinity 
Episcopal Church; mem. Women’s Cho- 
ral Society, Portland. Address, 97 Mus- 
sey St., So. Portland, Me. 

Bunton, George A., vocalist (basso); b 
Whitefield, N. H., 1853; s. William and 
Sarah J. Bunton; m. Mary E. Elliott; 
ed. N. E. Conservatory; studied with 


Dr. Guilmette; choirmaster, Hawes Uni- 
tacian Church; So. Boston, 34 yrs; 5 
yrs. at Lynn Universalist; and 5 yrs. at 
Mt. Pleasant Unitarian, Boston; mem. 
Apollo Club, Cecilia Club and Handel 
and Haydn Society of Boston. Address, 
11 Pine St., So. Portland, Me. 


Hal Emily, m.t. Address, Augusta, 

e. 

Burgess, Ferdinand F., instrumentalist 
(cornet); b. West Peru, Me., Jan. 30, 
1883; s. Cyrus and Sophila A. Burgess; 
m, Clara A. Whittier, Novy. 20, 1924; 
studied with Thomas P. Holt, Dixfield; 
mem. Dixfield Band, Grange; former 
mem. Wheelwright’s Band. Address, 
West Peru, Me. 


Burke, Gertrude, vocalist (lyric and color- 
atura soprano); b. Auburn, Me.; d. 
Thomas F. and Mary A. Burke; ed. Ed- 
ward Little High School, Auburn, and 
Bliss Business College, Lewiston; stud- 
ied with Isidore Braggiotti, Evangeline 
Hiltz, Arthur Hubbard, Mrs. F. P. 
Clark, Blanche Towle; piano with E. 
W. Hanscom; mem. Philharmonic Club, 
Auburn; one season with Aborn Opera 
Co.; one season with Ben Hur Co.; 
church soloist and concert singer. Vo- 
cation, stenographer. Address, 175 Hem- 
enway St., Suite 18, Boston, Mass. 


Burke, John Oakes, vocalist (tenor); Pres. 
Kotzschmar Club, 1925-26; charter mem. 
Portland Men’s Singing Club (first li- 
brarian); former mem. choirs, Church 
of Messiah, First Parish, Plymouth Free 
Baptist Church, First Free Baptist, 15 
yrs.; Choir Dir. Chestnut St. Church 
(tors). ‘Res,,7 183 ClarkSt: Bus. ad- 
dress, 396 Congress St., Portland, Me. 


Burke, Lawrence M., pianist. Vocation, 
salesman. Res., 338 Woodfords St., 
Portland, Me. 


Burke, Prudence M., instrumentalist (vi- 
ola); mem. Portland Orchestral Society, 
1926; Portland Rossini Club, 1927. Ad- 
dress, 124 Brackett St., Portland, Me. 


Burke, Ruth M., m.t. Address, 171 Con- 
gress St., Portland, Me. 

Burleigh, Catherine Currier, vocalist; b. 
Hallowell, Me., Dec. 10, 1893; d. Alger 
V. Currier and Catherine (Moulton) 
Currier Thrasher; m. Edwin C. Bur- 
leigh; ed. Smith College; mem. Augusta 
College Club, Cecilia Club and Koussi- 
noc Chapter, D. A. R. Address, Melville 
St., Augusta, Me. 


Burnett, Sue Winchell, cellist; b. Bruns- 


370 MUSIC AND MUSICIANS OF MAINE 


wick, Me.; d. John P. and Jennie For- 
saith Winchell; m. Charles T. Burnett, 
Dec. 16, 1914; mem. Bostonia Orchestra 
and was three seasons with Fadettes; 
studied with Alwin Schroeder and Josef 
Adamowski; Pres. Mozart Club, Bruns- 
wick; mem. Rossini Club, Portland. 
Address, 232 Maine St., Brunswick, Me. 


Burnham, Arline, teacher of piano; b. 
Hollis, Me., July 8, 1897; d. Edward 
Thomes and Luella Deering Burnham; 
ed. Maine Central Institute; studied 
with Carlo Buonamici and Felix Fox at 
The Felix Fox School of Pianoforte 
Playing, Boston; mem. Portland Ros- 
sini Club. Address, 655 Congress St., 
Portland, Me. 


Burnham, Edith, music critic and play- 
wright; b. Bridgton, Me., May 15, 1875; 
d. P. P. and Helen Nichols Burnham, 
well known organist and pianist and 
composer of several songs; ed. N. E. 
Conservatory, Boston University and 
Radclifte College; studied with Helen 
Nichols Burnham; Music Dept. Bucks- 
port Sem. and William L. Whitney of 
Whitney International School of Music; 
mem. Berkeley Temple Choir, Boston; 
music critic Boston Traveller, 2 yrs. 
Vocation, publishing house work and 
writing for newspapers and periodicals; 
author of plays with incidental music. 
Res., The Ritz-Carlton Hotel, Boston, 
Mass. 

Burnham, Frank, teacher of violin and 
cornet; mem. Portland Musicians Asso- 
ciation. Res., 116 Clark St. Studio, 537 
Congress St., Portland, Me. 


Burnham, Mrs. George, m.t. Address, So. 
Paris, Me. 


Burnham, Mildred, Pres. Chopin Club, 
Westbrook. Address, Westbrook, Me. . 


Burns, Leroy M., mem. Portland Men’s 
Singing Club. Address, 40 Ocean St., 
So. Portland, Me. 


Burns, Mrs. Oscar, mem. Me. Festival 
Chorus, 30 yrs. Address, Rockland, Me. 


Burpee, Mary G., teacher piano and voice 
(mezzo soprano); b. Fredericton Junc- 
tion, N, -B., Canada, jan> 26,718825 41. 
Moses and Caroline Alexander Burpee; 
ed. Ricker Classical Inst., Mt. Holyoke 
College and Wheaton Seminary; stud- 
ied piano with H. G. Tucker, Boston; 
voice with Mme. Alexander-Marius, 
Boston, Oscar Saenger and Sergei Klib- 
ansky, N. Y.; vocal teacher’s cert. Chi- 
cago Mus. Coll.; soprano soloist, Church 


of the Good Shepherd, Houlton, Me., 8 
yrs. (2 yrs. dir. and soloist); soloist and 
dir. Trinity English Lutheran Church, 
Riverside, Cal., 1923-24; founder and 
first pres. (5 yrs. in office) of Houlton 
Music Club, now honorary mem.; mem. 
Music Com. Maine Federation of Wo- 
men’s Clubs, 1916-17; charter mem. 
Houlton, Me., Festival Chorus, Rubin- 
stein Club, N. Y., 1918-20, and Riverside 
Choral Club, Riverside, Cal., 1923-24; 
teacher of voice, Bessie Tift College, 
Forsyth, Ga., 1926-27; head of Music 
Dept., Ricker Classical Institute, Houl- 
ton, Me.; org. and choir dir. Cong. 
Church, Houlton. Address, 90 Court 
St., Houlton, Me. 


Burr, Howard, Vice Pres. Kennebunk 


sete Chorus. Address, Kennebunk, 
e. 


Burr, Mary Rosamond, teacher of piano 


and public school music; b. Watertown, 
N. Y., May 26, 1900; d. Charles Henry 
and Mary O’Neil Burr; ed. Boston 
Univ., N. E. and. Ithaca Gone) .ana 
Northampton Inst. of Music Pedagogy; 
studied with August Schmid-Lindner, 
Munich, Germany, 2 yrs.; mem. Pi 
Lambda Sigma of Boston Univ.; chair- 
man of program committee Philhar- 
monic Club of Millinocket, Me., 1928; 
composer; org., St. Peter’s; Public 
School Music Supervisor. Address, 28 


Pine St., East Millinocket, Me. 
Butman, Anna Elizabeth Colson, pianist, 


vocalist (mezzo-contralto), organist, 
teacher of piano and voice; b. Thorn- 
dike, Me., Jan. 25, 1861; d. George Wash- 
ington and Susanna Nichols Colson; m. 
James Pendleton Butman, July 15, 1884; 
studied piano with Abbie Merrill, Sears- 
port, Prof. F. E. Park, Boston, James 
M. Tracey of Boston Conservatory and 
Otto Bendix of the N. E. Conservatory; 
voice with Prof. Tracey and Prof. Frank 
E. Morse of N. E. Conservatory; organ 
with Willard C. Kimball, Portland, Me.; 
former mem. Dr. Duryea’s Choir, Bos- 
ton. Res., Main Street, Searsport, Me. 


Butman, Margaret Elizabeth, teacher of 


piano; b. Falkland Islands, March 4, 1887; 
d. James P. and Anna C. Butman; ed. 
N. E. Conservatory, Toronto Conserva- 
tory; studied with Alfred De Voto and 
Paul Wells; mem. Morgantown, W. Va., 
Music Club; teacher of piano, Univer- 
sity of W. Va.; director of Piano Nor- 
mal Dept. Address, 134 Hunt St., Mor- 
gantown, W. Va. 


tu 
y 


| 


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BIOGRAPHICAL SECTION—I927-1928 371 


Butterfield, Mrs. Wilfred J., vocalist; mem. 
Bach Choir, Bangor. Address, Bangor, 
Me. 

Butterfield, Zilphaetta, m.t.; mem. Port- 
land Rossini Club; mem. Haydn Trio. 
Address, 39 Granite St., Portland, Me. 


Buxton, Gertrude L., m.t., organist; mem. 
Foriana branch N. EH. Chapt. Am. 
Guild of Organists, Portland Rossini 
Club; formerly org. Free St. Baptist, 
All Soul’s, and Pine St. M. E. Churches; 
ore iret Parish Church, Portland, 
since 1906. Address, 18 Brentwood St., 
Portland, Me. 

Buxton, William Herbert, composer; b. 
Portland, Me., Sept. 15, 1876; s. George 
Herbert and Nellie (Chamberlin) Bux- 
ton; ed. Hebron Acad.; m. Harriet 
Susan Knight, April I, I911; composer, 
Down in Maine, 1924, The Old Maine 
Shore, 1925; author, Bridge Simplified 
and the Auction Bridge Blue Book; Pres. 
Cape Shore Community Club, 10924; 
Pee counselor, U.>C. T.; Selectman, 
Cape Elizabeth, 1922-26; mem. Portland 
Athletic Club, U. C. T., Mason. Voca- 
tion, salesman. Res., Cape Elizabeth, 
Me. 

Buzzell, Louise Newcomb, organist; b. 
Brewster, Mass., Oct. 2, 1889; d. Wil- 
liam F. and Sarah (Newcomb) Buzzell; 
graduate music dept. Ricker Institute 
and studied piano with Mrs. Clarence 
White, Waterville, Me.; ed. Colby Col- 
lege; org. Methodist Epis. Church, 
Houlton; mem. Houlton Music Club 
and B. & P. W. Club; chairman pro- 
gram committee, Houlton Music Club, 
and accompanist. Vocation, High School 
teacher. Address, 74 Court St., Houl- 
ton, Me. 


Buzzell, Norma, m.t. 
Me. 

Bye, Christine, violinist; mem. Portland 
Municipal Orchestra. Address, 32 Tre- 
mont St., Portland, Me. 

Bye, Eleanore, violoncellist, Portland Mu- 
nicipal Orchestra. Address, 32 Tremont 
St., Portland, Me. 


Bye, Odele, violinist; mem. Portland Mu- 
nicipal Orchestra. Address, 32 Tremont 
St., Portland, Me. 

Bye, T. F., pianist. Address, 32 Tremont 
St., Portland, Me. 

Cabot, Edna Louisa, vocalist; b. Brock- 
tou, Mass, Jan. 21, 1873; d. Frederick 


Augustus and Emeline Augusta Phillips 
Smith; m. George Alfred Cabot, Oct. 


Address, Lincoln, 


21, 1902; studied with W. W. Leonard, 
Brockton, and Segrid Lunds, Boston, 
Mass.; former mem. choir Cong. Church, 
Brockton, Mass., Univ. Church, Bridg- 
ton, Me., Baptist Church, Roslindale, 
Mass.; Massasoit Chorus, Massasoit 
Club and Ladies Quartette. Address, 
So. High St., Bridgton, Me. 


Cain, Llewellyn B., conductor, vocalist 
(baritone); b. Fairfield, Me., Jan. 28, 
1867; s. George B. and Emily (Chase) 
Cain; ed. N. E. Conservatory, Boston, 
New York and Europe; m. Ethel Saw- 
yer, Oct. 20, 1915; studied with Andrew 
Keen, Arthur J. Hubbard, Frederick E. 
Bristol, Oscar Saenger, Hans Morgen- 
stern in Vienna, Alberto Randegger in 
London, Lorenz in Coburg, Germany; 
piano and theory with Emil Mollen- 
hauer; appeared in oratorio in Louisville, 
Ky., and western cities beginning 1895; 
taught in Kentucky, 1893-8, New York. 
1898, Boston, 1912, Portland, Me., and 
other cities as teacher of voice; former 
cond. Saco Valley Music Festival; mem. 
First M. E. Church Choir, Kiwanis Club 
and Church Federation all of Fresno, 
Cal.; mem. faculty, Univ. of Cal.; chair- 
man Festival for Cal. Federation Music 
Clubs; conductor San Joaquin Valley 
Oratorio Soc.; faculty high~ schools, 
Fresno and Kingsburg, Cal.; in charge 
music teachers, special music. Vocation, 
teaching and conducting. Address, 1201 
Ventura Ave., Kingsburg, Cal. 


Cairns, Thomas H., bagpiper; b. Ruther- 
glen, Scotland, Feb. 23, 1905; s. Joseph 
and Rachel Cairns; ed. public schools, 
Westbrook, Me.; studied with John H. 
Smith; mem. Cumberland Mills High- 
land Pipe Band (sergeant). Address, 
446 Stroudwater St., Westbrook, Me. 


Calden, Gladys Leavitt, vocalist (sopra- 
no); b. New Vineyard, Me., Feb. 1, 
1887; d. Arthur and Emma Pratt Leav- 
itt. Clarence..7)- Calden,. Sept... 14, 
1910; ed. Farmington State Normal 
School; studied with Mabel Starbird, L. 
B. Cain and Elizabeth J. Brown; mem. 
choir Falmouth Foreside Methodist 
Church; Sec. Marston Club; mem. Wo- 
men’s Choral Society. Res., Falmouth 
Foreside, Me. Address, R. F. D. No. 4, 
Portland, Me. 


Calder, Arthur E., leader of the Kenne- 
bunk Band. Address, Kennebunk, Me. 


Caldwell, John, Vice Pres. Milo Festival 
Chorus. Address, Milo, Me. 


372 


MUSIC AND MUSICIANS OF MAINE 


Callinan, William H., m.t., organist; Ad- 
dress, 95 Fifth St., Bangor, Me. 


Calvert, Thomas E., music critic. Address, 
98 Park St., Portland, Me. 


Camara, Mrs. Marie, cellist; mem. Port- 
land Rossini Club, Mendelssohn Trio. 
Address, 5 Smith St., Portland, Me. 


Campbell, Mary Alice, teacher of violin; 
b. Gorham, N. H., July 1, 1888; d. John 
and Mary (Smith) Hanley; ed. St. Jo- 
seph’s Convent, Old Town, Me., and 
Convent de la Presentation de Marie, 
Coaticook, Que.; m. Franklin D. Camp- 
bell, Jan. 1, 1914; studied violin with 
Lillian Grey, Old Town, Horace Pullen, 
Bangor, Fred Given, Portland, and piano 
at Convent Coaticook, Que.; mem. choir, 
St. Martin of Tours Church, Millinock- 
et, Me.; Pres. Philharmonic Club. Res., 
7 Pine St., Millinocket, Me. P. O. Box 
462. 

Campbell, Mrs. Sarah, m.t. 
Bartlett St., Lewiston, Me. 


Card, Otis Norris Edgar, vocalist (bari- 
tone), teacher violin; b. Bath, Me., Feb. 
3, 1895; s. Norris Edgar and Edith 
Webber Card; m. Mildred Lucretia 
Payne, May 26, 1920; ed. Bath, Me.; 
studied with C. A. Warren, Brunswick, 
Max Cimbollek, Waterville; mem. Wes- 
ley M. E. Church Choir and musical 
director of Wesley Choral Society at 
Wesley M. E. Church, Bath, Me.; mem. 
Brunswick Orchestral Society, Bruns- 
wick, Me. Vocation, photographer and 
draftsman. Address, rear 67 Court St., 
Bath, Me. 


Carignan, Valeria, violoncello; mem. Port- 
land Municipal Orchestra. Address, 
Portland, Me. - 


Carleton, Leola, teacher of piano; b. Skow- 
hegan, Me., April 23, 1889; d. George 
and Lillian Etta Carleton; ed. North- 
western Univ., Chicago; studied with C. 
Winfield Richmond, Bangor, 15 yrs.; 
assistant to C. Winfield Richmond; 
taught in Maine, 13 yrs.; has class of 
more than fifty pupils; formerly mem. 
Bangor Festival Chorus; mus. com. 
Bangor Woman’s Club; mem. Monday 
Class in Music Appreciation; organizer 
of the Richmond Class in Music Appre- 
ciation. Pianist. Address, 292 Ham- 
mond St., Bangor, Me. 

Carleton, Ralph B., cornettist; b. Dover, 
Me., Nov. 5, 1884; s. Frank and Stella 
Pratt Carleton; m. Ethel C. Dow; ed. 
Greenville, Me.; studied with Joseph 


Address, 61 


Taylor; business manager, Fay Scott 
Band; mem. Carleton’s Orchestra; mem. 
Odd Fellows, K. P., Masons. Vocation, 
jeweler. Address, Dexter, Me. 

Carleton, Robert A., instrumentalist; b. 
Weld, Me., July 10, 1905; s. Anginon S. 
and Carrie Carleton; ed. Weld, Me.; 
studied with Joseph Udell and Josafa 


Morin; mem. Lewiston-Auburn Sym-. 
phony Orchestra. Address, 63 Academy — 


St., Auburn, Me. 


Carlin, M. Isabel, org. St. John’s Catholic 
Church. Address, Bangor, Me. 


Carll, Wilma Evelyn, vocalist (alto); b. — 


Waterboro, Me., Feb. 19, 1905; d. Her- 
bert H. and Cora Browne Carll; ed. 
Bates College; studied with Leora H. 
Osborne; mem. Military St. Baptist 
Church, Houlton, Bates College Choir; 
mem. Phi Beta Kappa Society; former 
mem. MacFarlane Club and Houlton 
Music Club. Vocation, teacher. 
dress, Waterboro, Me. 


Caron, Irene, m.t. Address, 47 Elm St., 
Waterville, Me. 


Caron, Venise Marie, cellist, organist; b. 
Brunswick, Me., April 20, 1903; d. Louis 
Philippe and Fabiola Soucy Caron; 
studied with Mrs. Charles A. Warren, 
Prof. Henri Gagnon, Quebec; organist, 
Swedenborgian Church; formerly org. 
St. John Church and mem. Brunswick 
Choral and Orchestral Society and Wo- 


Ad- 


men’s String Quartet; mem. Mozart — 
Club; in 1924 received scholarship for a — 


year’s study on cello with C. A. Warren 
and in 1925 with Mrs. Charles Burnett. 
Address, 6 Lombard St., Brunswick, Me. 


Carpenter, Delphine, vocalist (mezzo so- 
prano); b. Northfield, Minn., Sept. 2, 
1896; d. Clarence P. and Lulu M. Car- 
penter; ed. Radcliffe College; studied 
with Mrs. M. T. Ward and Agida Jos- 
chia; former mem. King’s Chapel Choir, 
Boston, and Trinity Church Choir, New- 
ton Center, Mass.; director of Glee 
Club, Choir, Orchestra and Chorus at 
Nasson Institute. Teacher, voice and 
violin, Address, Nasson Institute, Spring- 
vale, Me. 

Carr, Helen Louise, teacher of piano; b. 
Thomaston, Me., Dec., 1876; d. Thomas 
A. and Lizzie E. Carrsed, Noo. Cone 
servatory; studied with Adolph Carpe 
and Latham True; mem. and past presi- 


dent Rubinstein Club, Rockland. Ad- 


dress, 3 Elliot St., Thomaston, Me. 
Carr, Ila, violinist; mem. Portland Munic- 


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BIOGRAPHICAL SECTION—1927-1928 


ipal Orchestra. Address, 553 Cumber- 
land Ave., Portland, Me. 


Carrier, Louis, trombonist; b. Canada, 
Feb. 20, 1892; s. Narcisse and Aurelie 
Carrier; m. Antonia Lemieux, Oct. II, 
1920; ed. public schools, Lewiston, Me.; 
studied with Ernest Hill; mem. Brigade 
Band and Parker’s Orchestra, Lewiston. 
Vocation, baker. Address, 68 Birch St., 
Lewiston, Me. 


Carritt, Mrs. E. H., honorary member 
Philharmonic Club, Auburn-Lewiston. 
Address, Lewiston, Me. 


Carroll, Mrs. Evelyn B., soloist; mem. 
Women’s Choral Society. Address, R. 
F. D. No. 4, Portland, Me. Res., Fal- 
mouth Foreside, Me. 


Carson, Mary M., vocalist; mem. Women’s 
Choral Society. Address, 255 Concord 
St., Portland, Me. 


Carson, Zeula Miller, vocalist, composer; 
b. Littleton, Me., June 12, 1883; d. An- 
son Colby and Josephine Wright Mil- 
ler; m. John Carson, June 17, 1908; 
studied with Mrs. J. E. Robinson; mem. 
choir U. B. Church from childhood to 
marriage (alto); organist, U. B. Church, 
5 yrs.; mem. Houlton Music Club, 
Grange and Houlton Farm Bureau; 
composer, “In the Autumn When the 
Leaves Begin to Fall,” ‘“Contrition,” 
“Wanted A Pal by the Name of Mary,” 
“Down the Path of Yesterday,” “Are 
Heaven’s Gates in the West,” etc. Ad- 
dress, North Road, Houlton, Me. 


Carter, Ellinor, pianist; d. John Carter; 
studied with Ethel Fullerton; student 
N. E. Conservatory. Res., 490 Preble 
St., So. Portland, Me. 


Carter, Harry B., School Music Super- 
visor. Address, Presque Isle, Me. 


Carter, Mrs. Mabel, organist. Address, 
124 Park Ave., Portland, Me. 


Carter, Willis E., violinist; mem. Deane’s 
Orchestral Club. Address, 379 Danforth 
St., Portland, Me. 

Cary, Mrs. Fred H., vocalist; soloist Win- 
ter St. Church, Bath. Address, Bruns- 
wick, Me. 

Cary, George F., former pres. Machias 
Festival Chorus. Address, 79 Highland 
St., Portland, Me. 

Cary, Mrs. George F., former conductor 
Machias and East Machias Festival 
Chorus. Address, 79 Highland St., Port- 
land, Me. 


Casseboom, George H., instructor piano, 


373 


organ and harmony; b. Saco, Me., Oct. 
7, 1892; s. Samuel W. and Susan (Davis) 
Casseboom; ed. Thornton Academy, 
Saco; m. Adeline Gore, June 21, 1924; 
studied with Arthur Foote; org., Main 
St. Baptist Church, Biddeford; concert 
dir. Philharmonic Orchestra; dir. of 
music Philharmonic Society and Main 
St. Bapt.; mem. Biddeford and Saco 
Musicians Asso., Bidd. and Saco Coun- 
try Club, all Masonic bodies, Shrine, 
American Legion. Address, 491 Main 
=e Saco; o., 138 Main St., Biddeford, 
e. 

Caswell, Elvira J., teacher of piano; b. 
Portland, Me.; d. Cyrus M. and Mar- 
garet Dearman Caswell; ed. Portland 
and N. E. Conservatory; studied with 
Carl Stasny; mem. Marston and Mac- 
Dowell Clubs; Pres. Marston Club 2 
yrs.; org., Westbrook Univ. Church, 
1897; pianist, Westbrook Cong. Church, 
1904. Address, 757 Congress St., Port- 
land, Me. 

Caswell, Mina H., music critic. Musical 
Editor Portland Evening News. Ad- 
dress, 139 Neal St., Portland, Me. 

Cates, Mrs. Gertrude, m.t. Address, Skow- 
hegan, Me. 

Cayting, A. Stanley, teacher of violin. Ad- 
dress, Pearl Building, Bangor, Me. 


Chabot, Louis T., vocalist (bass); for 47 
yrs. a member of St. Peter’s Church 


Choir, Lewiston. Address, Lewiston. 
Me. 
Chadbourne, Alfredda Drew, vocalist 


(contralto), violinist, pianist; b. Bidde- 
ford, Me.; d. Mr. and Mrs. Frederic 
Drew; m. Charles Allen Chadbourne, 
1898; ed. Wesleyan University; studied 
with A. R. Frank and W. H. Stock- 
bridge; formerly mem. choirs in Bidde- 
ford and Saco churches and Unitarian 
Church, Kennebunk; mem. Tremont 
Temple Chorus, Boston. Address, 143 
Pleasant St., Saco, Me. Mail Address, 9 
Thatcher St., Medford, Mass. 


Chadwick, Julia, m.t. Address, Farming- 
dale, Me. 

Chaffee, George W., teacher cornet and 
saxophone; b. Millburn, N. J., Jan. 17, 
1883; s. William C. and Mary E. Parsell 
Chaffee; m. Annie E. Smith, Aug. 15, 
1905; ed. New Jersey; studied with Wil- 
liam C. Chaffee; dir. Dover-Foxcroft 
Band and mem. Quintette Orchestra; 
mem. Knights of Pythias. Vocation, 
manager, Observer Pub. Co. Address, 
South St., Dover-Foxcroft, Me. 


374 MUSIC AND MUSICIANS OF MAINE 


Chandler, Evelyn Parker, vocalist. Ad- 
dress, New Gloucester, Me. 


Chandler, Mrs. J. S., pianist; formerly 
mem. Damariscotta Festival Chorus. 
Address, Damariscotta, Me. 


Chapman, Mrs. C. V., m.t. Address, Pat- 
ten, Me. 

Chapman, Frederick Elmer, organist, com- 
poser, conductor, teacher; b. Bath, Me.; 
s. Job and Elizabeth Kinsman Chap- 
man; ed. special at Harvard Univ. and 
Mass. Inst. of Technology; grad. Nat. 
School of Public School Music; studied 
with Dr. Luther Whiting Mason and 
George A. Veazie; studied interpreta- 
tion and conducting with Carl Zerrahn; 
pianoforte and pipe organ with S. B. 
Whitney and Charles L. Capen; har- 
mony, counterpoint, fugue, orchestra- 
tion and composition with George W. 
Chadwick, Gustave Strube and others; 
voice with Freiderich Zeuchtmann; org. 
Bath, Me., at. 10. yrs. of age; Cong. 
Church, Springfield St., Boston, 5 yrs.; 
Columbus Ave., Boston, 7 yrs.; teach- 
er public school music, Wa -erville, Me., 
Reading, Mass., Cambridge, Mass. (20 
yrs.), Portland, Ore. (4 yrs.); con- 
ductor numerous choral societies and 
orchestras; teacher Nat. Summer School 
for pub. sch. music, Chicago; Univ. of 
California; Univ. of Washington; State 
of Maine Teachers Summer Insts. (11 
yrs.); mem. Nat. Ed. Assn. (1885-1928) ; 
composer and conductor of opera “The 
Prince of Cairo’; con. of the Longfellow 
Centenary at Sanders Theatre, Harvard 
Univ., also the Lincoln Memorial there; 
dir. Handel and Haydn Soc., Boston (9 
yrs.); mem. Cecilia Club, Boston (12 
yrs.); composer, “Consolation,” “Colin,” 
“A Crooning ~ Song,” “‘Good “Nigne” 
“Rockaby Lady” (for women’s voices), 
“Mass in D minor,” “The Apollo Song 
Book” (men’s voices), “Meditation,” in 
D minor, for violin, harp and pipe or- 
gan; author of Harmony for High 
Schools; mem. Musicians Club, Port- 
land, Ore.; Colleague of Am. Guild of 
Organists; Director of Music in Public 
Schools, Belfast, Me. Mail address, 
Damariscotta, Me. 

Chapman, Mildred L., pianist; Pres. and 
Accompanist, Milo Festival Chorus. Ad- 
dress, Milo, Me. 

Chapman, William Rogers, choral director, 
conductor, composer; b. Hanover, Mass., 
Aug. 4, 1855; s. Rev. William Rogers and 
Emily Bishop Chapman; ed. in New 


York; m. Emma L, Faulkner; for many 
years music teacher in N. Y. Public 
Schools; org. Church of the Covenant, 
N. Y., 1877; cond. Musurgia, Rubinstein, 
Apollo Clubs and the Metropolitan Mu- 
sical Society, N. Y.; cond. Philharmonic 
Society, N. Y.; dir. Maine Music Festi- 
vals, Portland and Bangor, for 30 yrs.; 
Honorary Degree, Doctor of Music, Univ. 


of Maine, Orono, 1926; tree planted in — 


Honor Grove, Central Park, Aug., 1927, 
in honor of Dr. and Mrs. Chapman. Ad- 
dress, Waldorf Astoria, N. Y. Summer 
res., Bethel, Me. 


Chase, Annie P., teacher pipe organ; b. 


Hallowell, Me.; d. Dr. James T. and Al- 
mira (Parker) Chase; studied with Ho- 
mer Norris, Boston; org., First Baptist 
Church, Hallowell, and Winthrop St. 
Baptist, Augusta; composer of choir 
works, organ solos and violin and cello 
solos. Res., 40 Middle St., Houlton, Me. 


Chase, Caroline Fenno, teacher of piano, 


vocalist (mezzo-soprano); b. Augusta, 
Me., Nov. 30, 1871; d. Henry and Emily 
Pitts Chase; ed. private schools, Au- 
gusta; studied with John Hyde, John 
Mason, Carl Lamson; Pres. Cecilia 
Club; State Extension Chairman, Me. 
Fed. Music Clubs; mem. Armitage Club, 
D. A. R., League of Women Voters, 
Kennebec Historical Society, Daughters 
of Veterans; composer “The Festival of 
the May Queen.” Supervisor of Music, 
public schools of Augusta, 1920-21. Ad- 
— 15 East Crescent St., Augusta, 
e 


er Daisy D., m.t. Address, Norway, 
Chase, Emily, mem. MacDowell Club; 


teacher drawing and music in Nathan 
Clifford School; pianist, Clifford Boys’ 
Music Club, Portland. Address, 128 
Cumberland ‘Ave, Portland, Me. 


Chase, Melville Warren, organist, teacher 


and musical director; b. Minot, Me., Feb. 
18, 1842; s. Joseph W. and Mary Ann 
Chase; m. Olive C. Poland, 1874 (de- 
ceased), and Mrs. Eleanor McMillan Hill, 


1877; ed. Hebron Academy, and Maine ~ 


State Seminary (now Bates College) ; 
studied with Mrs. I. C. Bumpus, W. K. 


Emminger, W. H. Schultze and Herman ; 
Daum; org. Lewiston and Auburn church- — 


es, 1866-68; org. Hillsdale College Church, 
1869 to 1926, and dir. College Chorus, 20 
yrs.; pianist for conventions in Lewiston, 
1866 to 1869; former pres. Michigan Mus. 
Teachers Asso. and Treas. 10 yrs.; rec’d 


BIOGRAPHICAL SECTION—1927-1928 375 


honorary degree, Hillsdale Coll., Mus. 
Doc. in 1887; became Director of Music 


Dept. Hillsdale College, Michigan, in 
1869; retired in 1923. Director emeritus 
since 1923. Address, 157 Hillsdale St., 


Hillsdale, Michigan. 


Cheney, Mrs. J. F., Vice Pres. Brunswick 
Festival Chorus. Address, Brunswick, 
Me. 

Cherry, Sara, m.t. Address, Eastport, Me. 


Christensen, Eleanor Nielsine, supervisor 
of public school music; b. Bangor, Me., 
April 19, 1899; d. Hans and Bertha V. 
Christensen; ed. N. E. Conservatory; 
mem. Methodist Church Choir (so- 
prano); teacher violin, cornet. Address, 

14 Elm St., Bangor, Me. 


-Church, William Austin, teacher of violin; 
b. Cherryfield, Me., March 3, 1872; s. 
George Edwin and Annie (Austin) 
Church; m. Helen R. Schoppe, Oct. 27, 
1910; studied with Wm. Eaton, Cherry- 
field, M. H. Andrews, Bangor, and R. 
Williams, N. Y.; mem. local orchestras 
(1st violin). Address, Cherryfield, Me. 


Chute, Isabelle May, vocalist, accompan- 
ist; b. Lakeview, Ontario, Canada, May 
0, 1800; d. Charles Walter and Mary 
Chute; ed. Hartford School of Religious 
Education, Hartford, Conn.; studied 
with Mrs. Dudley Hayes Farrell and 
Mrs. Helen Allen Hunt; mem. choir 
Baptist Church, Rockland, Mass., So. 
Cong. Church, Brockton, Mass., and 
Hartford Seminary Choir; mem. Phil- 
harmonic Club. Vocation, Director of 
Religious Education. Address, 46 High 
St., Auburn, Me. 


Cilley, Madelyn L., organist, teacher of 
piano; b. Livermore Falls, Me.; d. EI- 
mer E. and Julia M. Lord; m. Lawrence 
N. Cilley, Aug. 25, 1922; studied with 
Florence A. Wells, Lewiston, and Mrs. 
Gertrude Davis, Portland ; mem. choir 
and org. School St. M. E. Church; mem. 
Nat. Asso. of Organists; associate mem. 
Portland Rossini Club; pianist, Eastern 
Star; mem. Annie Louise Cary Club; 
counsellor of Junior Annie Louise Cary 
Club; mem. Altrurian Club. Address, 
111 Main St., Gorham, Me. 


Cimbollek, Max George, teacher of violin; 
b. Germany, May 10, 1890; s. Anton and 
Wilhelmina (Lasch) Cimbollek; m. 
Helen Brown, June 14, 1916; leader 
Waterville Symphony Orch.; Mason. 
Res., 4 Graylock Rd.; 0., 165 Main St., 
Waterville, Me. 


Clark, Ethel H., organist, pianist; b. 
Madison, Me.; m. J. Max Clark; studied 
with Margery Morrison, Alfred Brink- 
ler, Carl Mally. Vocation, assistant or- 
ganist Empire Theatre. Address, 63 
Washburn Ave., Portland, Me. 


Clark, Florian Lester, teacher of trom- 
bone; b. Plymouth, Me., July 28, 1903; 
s. William H. Clark; studied with U. S. 
Army bands: O2nd. Cc: AJ ©. and 2nd 
C. A. C., Fort Williams; mem. choir 
First Baptist Church, Rockland; mem. 
Waldoboro Band; mem. Trombone 
Quartet; mem. F. A. M., King Solo. 61. 
Vocation, salesman. Res., 12 Masonic 
St., Rockland, Me. Mail address, P. O. 
158, Waldoboro, Me. 


Clark, Dr. George B., mem. Pilgrim Male 
Quartette. Portland, Me. 


Clark, Mrs. George; mem. Women’s Cho- 
ral Society. Address, Portland Farms, 
Portland, Me. 


Clark, Howard Winchell, solo pianist, 
teacher of piano and organ; b. Roxbury, 
Mass., July 13, 1885; s. Carroll Winn 
and Belle (Winchell) Clark; m. Helen 
Sumner Baine, Portland, June 16, 1914; 
s. with Frank L. Rankin; organist and 
choir dir., Cong. Sq. Univ. Church since 
1913; o0rg., Plymouth Free Baptist Church, 
1907-13; accompanist for many noted 
soloists; mem. Kotzschmar Club; mem. 
Portland Branch N. E. Chapter Amer- 
ican Guild of Organists. Res., 12 Fair- 
lawn, Ave., So. Portland. 


Clark, Mrs. Howard W. (Helen S. Baine), 
vocalist (soprano); mem. Portland Ros- 
sini Club; Women’s Choral Society. Ad- 
Sete 12 Fairlawn Ave., So. Portland, 

e. 

Clark, Mrs. R. T., Treas. Bangor Festival 

Chorus. Address, Bangor, Me. 


Clarke, Dr. F. A., mem. Kotzschmar Club. 
Address, 156 Free St., Portland, Me. 


Clarke, Florence M., vocalist; mem. Wo- 
men’s Choral Society. Address, 45 Run- 
nells St., Portland, Me. 


Clarke, George Clarence, A.B., vocalist 
(tenor); b. Portland, Me., Dec. 8, 1888; 
s. James Melvin and Rose Ella Clarke; 
m. Nellie Augusta Goodine, Aug. 31, 
1914; ed. Portland High School, Uni- 
versity of Maine; Maine Wesleyan Sem- 
inary Conservatory of Music; studied 
with Karl Dreschal, of Batavia, Ger- 
many; leader Pawtucket Chamber of 
Commerce Male Quartette, Pawtucket, 
R. I.; formerly manager, Maine Musical 


376 


Clubs. Vocation, Sec. Chamber of Com- 
merce, Pawtucket. Address, 307 Main 
St., Pawtucket, R. I. 


Clarke, Helen Archibald, composer; b. 


Philadelphia; d. Hugh Archibald and 
Jane (Searle) Clarke; ed. private schools 
and musical dept. of U. of Pa.; editor 
(with Charlotte Porter), Poet Lore; lec- 
turer on poetry, drama and mythology; 
mem. Boston Browning Soc., N. Y. 
Browning Soc.; mem. Boston Authors, 
N. E. Poetry Soc.; editor Poems of 
Robert Browning, 1896, The Ring and 
the Book, 1897, Clever Tales, 1897, Rob- 
ert Browning’s Complete Poetical 
Works, 1898, Mrs. Browning’s Com- 
plete Works, 1900, Browning Study 
Programs, 1900, Shakespeare Studies, 
1902, The Pembroke Editor of Shakes- 
peare, 1903, Poets’ Parleys, 1903; author, 
Browning’s England, Browning’s Italy, 
Longfellow’s Country, Guide to Mythol- 
ogy, Ancient Myths in Modern Poets, 
Hawthorne’s Country, Poet’s New Eng- 
land, Starrylocks in Butterfly-Land, 
Browning and His Century, Gethsem- 
ane, Balaustion’s Euripides, Hermes at 
School; composer of piano music and 
songs; founder and dir. The Symposium. 
Summer home, Isle au Haut, Me. Res., 
II Queensbury St., Boston, Mass. 


Clement, Cacy Elizabeth, violinist; b. Lew- 
iston, Me., July 22, 1908; d. Charles and 
Nellie Clement; ed. Auburn, Me.; stud- 
ied with Leigh Fenderson and Josafa 
Morin; mem. C. L. H. S. and Lewiston- 
Auburn Symphony Orchestra. Address, 
20 Newbury St., Auburn, Me. 


Cleveland, E. L., Dir. Eastern Maine Mu- 


sical Association. Address, Houlton, Me. 


Clifford, Beatrice, vocalist, pianist; b. Ban- 
gor, Me., May 4, 1897; d. Milton S. and 
Angela G. Clifford; ed. Bangor and Bos- 
ton; studied with Anna Strickland and 
Isabel Weston, Bangor; American 
School of Music at Fontainebleau one 
summer; Francis Rogers, Ella Backus- 
Behr and Mannes School, N. Y.; piano 
with Pauline Danforth, Boston; voice 
with Mrs. Annie Whittredge, Boston; 
mem. Schumann Club, Bangor. Ad- 
dress, 60 Montgomery St., Bangor, Me. 


Clifford, Mae Harrison, organist; b. Du- 
luth, Minn., July 6, 1889; d. Thomas and 
Luella Harrison; m. Dr. Gerald P. Clif- 
ford, June 1, 1916; ed. Kent’s Hill and 
Lasell Seminaries; studied organ with 
Dr. Henry Dunham and piano with Alice 


MUSIC AND MUSICIANS OF MAINE 


Hall of N. E. Conservatory; church or- 
ganist since 16 yrs. of age; mem. Mars- 
ton Club, Portland; for. mem. Houlton 
Music Club; Pres. Portland Lasell Club; 
mem. Excelsior Literary Club; Second 
Vice Pres. Federation of Women’s 
Church Soc., Portland; Sec. of Woman’s 
Home Missionary Soc., Portland Dis- 
trict; Sec. of Conference Members Home 
Missionary Soc. of Me. Res., Town 
Landing, Falmouth Foreside, Me. 


Cloudman, Mrs. Andrew C. (Margaret), 
vocalist; Pres. Women’s Choral Soci- 
ety; priv. mem. Marston Club; priv. 
mem. Portland Rossini Club. Address, 
9 Newcomb Place, Westbrook, Me. 


Cloutier, Aimé, instrumentalist (violin, E 
flat alto horn); b. Augusta, Me., Dec. ‘31, 
1907; s. Arthur and Rose Cloutier; ed. 
Augusta, Me.; studied with Josafa Morin 
and Raymond Shaw; mem. Lewiston 
Symphony Orchestra, Dominican Band 
and A. S. D. Club; mem. Augusta Sym- 
phony Orchestra, 1921-23. Address, 67 
Maple St., Lewiston, Me. 


Cloutman, Ernest Clifton, teacher piano 
and organ; b. West Milton, N. H., Sept. 
10, 1859; s. Charles A. and Ellen (Dear- 
born) Cloutman; studied with Prof. 
Frank L. Rankin and Louis C. Stanton; 
organist, Baptist Church, Dover, N. H., 
25 yrs.; org., Free Baptist Church, So. 
Berwick; former mem. Nat. and New 
Hampshire Music Teachers’ Associa- 
tions. Address, 39 Elm St., So. Berwick, 
Me. Mail address, P. O. Box 553, So. 
Berwick. 


Cobb, Grace Clifford, pianist; b. Bath, 
Me.; d. Zina B. and Media L. Clifford; 
m. Samuel T. Cobb, June 29, 1910; 
studied with E. W. Hanscom, Mrs. An- 
drew Haley and Arthur N. Pettengill; 
mem. Auburn Trio (saxophone); Pres. 
Philharmonic Club of Auburn and Lew- 
iston, 1921-22. Address, 20 Davis Ave., 
Auburn, Me. 


Cobb, Marion, School Music Supervisor. 
Address, Bucksport, Me. 


Cobb, Ruth, vocalist. Address, Trelawney 
Bldg., Portland, Me. 


Coburn, Raymond Wesley, musical direc- 
tor, teacher of piano; b. Lewiston, Me., 
Dec. 26, 1890; s. Dwight J. and Addie 
May Coburn; m. Maude H. Clark, Dec. 
5, 1918; studied with Edward Hanscom 
and Carl Deis; mem. Arcadians; 32nd 
degree Mason, Shrine, Willowdale Golf 
Club; formerly director Jefferson Thea- 


BIOGRAPHICAL SECTION—1927-1928 377 


tre, Keith’s Theatre and the Empire 
Theatre Orchestras, Portland. Res. 84 
Free St., Portland, Me. 


Cochrane, Harry Hayman, vocalist (bass- 
baritone); b. Augusta, Me.; s. Major 
James Henry and Ellen Maria (Berry) 
Cochrane; m. Ida Lorena Gott, June, 
1887; ed. Monmouth Academy, Bates 
College (Honorary A. M. Degree) and 
American Conservatory, Chicago; stud- 
ied with Mrs. Flora C. Burnham, Arthur 
C. Hubbard and Karlton Hackett; dir. 
M. E. Church Choir; leader Monmouth 
Band; mem. Winthrop Band (slide 
trombone); dir. Cochrane’s Orchestra; 
hon. mem. Lewiston-Auburn Rotary; 
Trustee, Monmouth Academy; com- 
poser of First Crusade, a musical drama 
produced in principal Maine cities under 
auspices of Masonic Fraternity and 
Knights Templar in 1894-5, and a large 
number of unpublished band, orchestra 
selections and songs; former mem. New 
York Festival Chorus; author of His- 
tory of Monmouth and Wales. Voca- 
tion, artist. Address, Monmouth, Me. 


Cochrane, Wilbur S., teacher of music; 
mem. Me. Festival Chorus, 30 yrs.; con- 
ductor Bucksport Chorus. Address, 91 
Fourth St., Bangor, Me. 

Coffey, Florence, teacher of piano; Pres. 
Marston Club; mem. MacDowell Club. 
Portland Rossini Club. Address, 20 
Spruce St., Portland, Me. 


Coffin, Carl C., vocalist (bass); mem. Port- 
land Festival Chorus. Address, 135 
Glenwood Ave., Portland, Me. 


Coffin, Harold W., vocalist; Vice Pres. 
Eastern Maine Fes. Chorus, 1927-28; 
mem. Bach Choir. Address, Bangor, Me. 


Coffin, Susan G., vocalist (alto), teacher of 
piano; coach and accompanist, Portland 
Rossini Club Trio; priv. mem. Portland 
Rossini Club; accompanist Portland 
Festival Chorus; mem. 25 yrs.; organist, 
Williston Church. Address, 226 Wood- 
ford St., Portland, Me. 


Cohen, Birdie, m.t. Address, 195 Congress 
St., Portland, Me. 


Cohen, Harry Jacob, teacher of violin; b. 
Liskova, Russia, June 15, 1896; arrived 
in U. S. A. at age of 2; s. Louis and 
Bertha (Zagorski) Cohen; m. Minnie 
Rose Glickman, May 9, 1917; ed. Rum- 
ford, Me.; studied with Howard Fogg, 
Carl Pearce and at N. E. Conservatory; 
concert master, Rumford Symphony 
Orchestra; mem. Elks, K. of P., and A. 


F. of Music. Vocation, carbonated bev- 
erage manufacturer. Address, 509 Pine 
St., Rumford, Me. 


Colburn, Eleanor S.., ; school music super- 
visor. Address, East Livermore, Me. 


Colby, Herbert E., vocalist (bass); Db. 
Litchfield, N. H., May 28, 1873; s. Eben 
C. and Abbie D. Colby; m. Nellie F. 
Upton, 1899; ed. Pinkerton Academy, 
Derry, N. H.; studied with Mrs. Eliz- 
abeth Prescott; mem. First M. E. 
Church Choir, St. Luke’s Methodist at 
Derry, N. H., and Unitarian Men’s 
Choir, Sanford, Me.; Vice Pres. Sanford 
Men’s Singing Club. Vocation, meat 
ANS Address, 7 Clinton St., Sanford, 

e. 

Coleman, Walter Strout, vocalist (bass) ; 
b. Portland, Me., March 2, 1874; s. 
Francis D. and Mary F. (Strout) Cole- 
man; m. Gertrude M. Richardson, Oct. 
5, 1896; ed. public schools, Westbrook 
Seminary, and Harvard Dental College; 
studied with W. L. Dennett (vocal in- 
structor) and C. M. Brooks (cornet) ; 
mem. Trinity Church Choir, Boston, 
Williston Church Choir and First Par- 
ish Church Choir, Portland (14 yrs.); 
mem. several orchestras for. 11 yrs.; dir. 
for Cumberland Co. of the work of the 
Preparedness League of American Den- 
tists during the World War; Past Mas- 
ter Deering Lodge, A. F. & A. M.; mem. 
Portland Commandery, K. T., and 32nd 
degree Mason. Vocation, practicing den- 
Re Address, 154 Concord St., Portland, 

e. 

Collet, Laura, teacher of piano; b. Lewis- 
ton, Me.; d. Charles and Clara Poulin 
Collet; studied with Miss M. M. Tontain 
and Rev. Sister Dolores; directress 
Foyer Musical. Address, 132 First St., 
Auburn, Me. 


Collet, Romeo, violinist; b. Lewiston, Me.; 
s. Charles and Clara Collet; ed. Maine 
School of Commerce, Auburn; studied 
with Arthur Bounelle and Josafa Morin; 
concertmaster, Lewiston-Auburn Sym- 
phony Orchestra. Address, 132 First 
St., Auburn, Me. 

Comeau, Leah, pianist; mem. MacDowell 
Club. Address, 280 Stevens Ave., Port- 
land, Me. 

Conant, Albert, trombone; mem. Portland 
Municipal Orchestra. Address, Port- 
land, Me. 

Conant, Ella F., m.t. Address, 28 East 
Summer St., Bangor, Me. 


378 MUSIC AND MUSICIANS OF MAINE 


Conant, Forest Burbank, teacher saxo- 
phone and drums; b. Hebron, Me., May 
3, 1895; s. Albert A. and Nellie M. Co- 
nant; ed. Hebron Academy; studied with 
John D. McCarthy; mem. Grange, Ma- 
son. Vocation, shoe business and can- 
ning. Address, Buckfield, Me. 


Conant, Helen Alfreda, teacher of piano, 
organ; b. Lewiston, Me.; d. Alfred Per- 
kins and Hannah Smith Conant; studied 
with E. W. Hanscom and William H. 
Sherwood; technical work with Prof. 
Hambourg, London; organ with Dr. W. 
G. Alcock of Westminster Abbey; 
French music with Isidor Philipp, Paris; 
held first position as church organist at 
age of 15; organist and choir director, 
Elm St. Universalist Church, Auburn; 
mem. Philharmonic Club; former mem. 
Musical Union and Clef Club. Address, 
153 Pine St., Lewiston, Me. 

Conant, Neil R., violinist; b. Mechanic 
Falls, Me., April 5, 1900; s. William Q. 
and Alma Conant; ed. Edward Little 
High School and Bates College; studied 
with Leigh Fenderson and Tavid Fish- 
er; mem. Lewiston Musical Organiza- 
tion and MacFarlane Club. Address, 246 
Court St., Auburn, Me. 

Connor, Ella, org. and choir dir. St. John’s 
Catholic Church. Address, Bangor, Me. 
Connor, Reginald, violinist;.mem. Port- 
land Municipal Orchestra. Address, 118 

Main St., So. Portland, Me. 

Conway, Edward, vocalist (bass); mem. 
Maine Harmony Four. Address, Lew- 
iston, Me. 

Cony, Mrs. Thomas O., m.t. Address, 4 
Elm St., Augusta, Me. 

Cook, Charlotte F., m.t. Address, 490 
Washington St., Bath, Me. 


Cook, Gladys (Russell), vocalist (colora- 
tura soprano); b. Kennebunkport, Me.; 
d. Seth Webb and Marilla Russell Stin- 
son; m. Wallace Leslie Cook, Sept. 5, 
1915; ed. Biddeford, Me.; studied coach- 
ing with Marion Simms; voice, Freder- 
ick Bristol, N. Y.; mem. Williston 
Church Choir, Portland, and the Rossini 
Club; church soloist in New York and 
other cities. Res., 42 Exeter St., Port- 
land, Me. 

Cook, Henry C., violinist; mem. Portland 
Municipal Orchestra. Address, 340 Au- 
burn St., Portland, Me. Cees 

Cook, Mrs. Hilliard D., organist, vocalist; 
studied voice with Isidore Braggiotti; ed. 
Institute of Music, N: Y.; org. St. Ste- 


phen’s Episcopal Church, Portland; for- 
merly org. Christ Church, Gardiner, St. 
Paul’s Church, New Haven, Conn., St. 
Margaret’s Church, Brighton, Mass. Ad- 
dress, 92 Mechanic St., Westbrook, Me. 


Cook, Mrs. Hope Jackson, vocalist (so- 
prano). Address, Westbrook, Me. 


Cook, Ruth Plummer, pianist, cellist; b. 
Portland, Me., Feb. 16, 1899; d. George 
Adelbert and Alice Atkins Plummer; m. 
Sanger Mills Cook, Aug. 15, 1923; ed. 
Boston Lyceum School and N. E. Con- 
servatory; studied with C. Winfield 
Richmond, Charles Dennee, Adelbert 
Wells Sprague and Carl Webster; solo- 
ist in Lyceum Work; organist, Newport 
High St. Church, Pittsfield Univ., Pitts- 
field Baptist; mem. Bangor Symphony 
Orchestra, Pittsfield Tuesday Club and 
B. & P. W. Club. Vocation, Head of 
Maine Central Institute Music Depart- 
Sra Address, 110 Main St., Pittsfield, 

e. ' 

Cooke, Reginald Bancroft, vocalist (ten- 
or); b. Birkenhead, England, 1887; s. 
Bancroft and Emily Sarah Cooke; ed. 
M.A. University of California; PhD. 
Univ. of Wisconsin; mem. Williston 
Church Choir, Portland, Portland Men’s 
Singing Club (former librarian and Sec.), 
Kotzschmar Club, Portland; former 
mem. Oakland Orpheus, Oakland, Cal.; 
trained as a boy soprano, Llandaff Ca- 
thedral, Wales, 1898-1901; author “Pla- 
ten’s Sonnets” and “Some Sonnets of a 
Passing Epoch.” Address,-738 Congress 
St., Portland, Me. 


Coombs, Charles Whitney, organist, com- 
poser; b, Bucksport, Me., Dec. 25, 1859; 
s. Luther Augustine and Caroline (Whit- 
ney) Coombs; studied with Speidel and 
Seifriz in Stuttgart and with Janssen, 
Draeseke, Jahn and Lamperti in Dresden; 
org. and choirmaster American Church, 
Dresden, 1887-91, Church of the Holy 
Communion, N. Y., 1892-08, St. Luke’s 
Church, N. Y., since 1908; founder Amer- 
ican Guild of Organists; composer, church 
cantatas, “Vision of St. John,” “The First 
Christmas,” “The Ancient of Days,” “The 
Sorrow of Death”; anthems, “How Good- 
ly are Thy Tents,” “How Lovely upon 
the Mountains,” “O God Thou Art Great,” 
“Where is He that is born King of the 
Jews,” “As It began to Dawn”; songs, 
“The Face,” “The Breath of the Dawn,” 
“The Hills of Arcady,” “The Long Cliffs 

~of Devon,” “Her Rose,” “A Riot of Ros- 
es,” “Four Leaf Clover,” “In the Dark, 


BIOGRAPHICAL SECTION—1927-1928 


in the Dew,” “My Heart, It Was a Cup 
of Gold,’ “A Knight of the Plain,’ “A 
Garden of Dreams,” “A Benediction,” etc. ; 
mem. Musicians Club, St. Wilfrid’s Club, 
Clef Club. Address, St. Luke’s Church, 
Convent Ave. and 141st St., New York. 


Coombs, Mrs. Delbert Dana (Martha 
Mitchell Lufkin), vocalist (contralto); b. 
Lewiston, Me., Nov. 7, 1866; d. Israel 
and Eliza Fowler Mitchell; m. Freder- 
ick T. Lufkin, June 7, 1887, and Delbert 
Dana Coombs, Sept. 10, 1902; studied 
music with Signor Rotoli, Boston, W. 
L. Whitney, Boston, W. H. Dennett and 
W.H. Stockbridge, Portland; mem. Pine 
St. Congregational Church Choir, Lew- 
iston, First Universalist, Auburn, Con- 
gress Square, Portland, High St. Con- 
gregationalist, Auburn; honorary mem- 
ber Philharmonic Club, Auburn and 
Lewiston, 1922; councillor Lewiston and 
Auburn Festival Chorus, 1898-99; mem. 
Musical Union; hon. mem. Old Clef 
Club. Address New Gloucester, Me. 


Coombs, Mrs. H. W., m.t. Address, White- 
field, Me. 


Coombs, Jacob Flye (baritone); b. Au- 
gusta, Me., June 18, 1866; s. Elbridge C. 
and Abigail D. (Currier) Coombs; m 
Mary Wheeler, Sept. 6, 1899, and Linnie 
Albee, May 5, 1919; studied with Wil- 
liam R. Howard; precentor, Immanuel 


Baptist Church, Portland. Vocation, 
accountant and paymaster, Portland 
Stove Foundry. Address, 34 Pitt St., 


Portland, Me. 


Coombs, James Parker, vocal teacher, 
opera singer (bass-baritone); b. Au- 
gusta, Me., June 6, 1869; s. Elbridge C. 
and Abigail D. Coombs; m. Bessie Hill, 
June 3, 1917; ed. Brown University, 
Providence, R. I.; studied with Dudley 
Buck, William R. Lane and others; 
mem. Ligonia Band (cornet); mem. 
State St. Church Choir, Portland, and 
others; bugler in U. S. Navy; Pres. of 
N. Y. Hippodrome Employees Assn.; 
coached and directed University of Me. 
Glee and Banjo Clubs; produced “Dream 
Trail” and Rip Van Winkle in Jefferson 


Theatre, Portland, and sang in about 40 


operas with H. W. Savage, Lee Shubert 
ao others. Summer home, Peaks Island, 
. Address, 235 W. ro7th St., N. Y. 


ae Ray, leader Waldoboro fe 
Address, Waldoboro, Me. 


Copp, William R., former Pres. Cornigh 
Festival Chorus. Address, Cornish, Me. 


379 


Copping, Lilian Sprague, vocal teacher 
(mezzo-soprano); b. Rockland, Me., July 
17, 1865; d. Edwin and Malvie Kimball 
Sprague; m. Albert Copping (1887); 
studied with Munger, Stuart, Harris, 
Meckey, Burleigh, Wilde, Godfrey, 
Smart, Townsend and Merrill; cond. 
First Baptist Church Choir, Rockland; 
sang in Univ. Quartette age 14; was 
7 yrs. director Methodist Choir, Rock- 
land; studied at University of California, 
1915, studying music with Horatio Par- 
ker, Glenn Woods and Mrs. Warren and 
literature with Prof. Axson. Address, 
39 Limerock St., Rockland, Me. 


Corey, Mildred, teacher of piano; mem. 
Portland Rossini Club. Address, 41 
Glenwood Ave., Portland, Me. 


Corliss, Fred C., mem. Deane’s Orchestral 
Club. Address, Portland, Me. 


Corneail, Annie I., Sec.-Treas. Ellsworth 
Festival Chorus. Address, Ellsworth, Me. 


Costello, M. S., mem. Temple Quartette. 
Address, Kennebunk, Me. 


Cote, Alphonse W., piano teacher, vocal- 
ist (tenor); b. Lewiston, Me., Nov. 5, 
1875; s. Joseph and Agnes Courtois 
Cote; m. Marguerite Lafontaine, Sept. 
5, 1898; ed. Lewiston, Me.; studied with 
Henry F. Roy and E. W. Hanscome; 
organist and choir director, St. Louis 
Church, Auburn; dir. Orpheon Society; 
promoter grand opera in Auburn and 
Lewiston; composer, Latin pieces for 
Catholic services. Vocation, piano tuner. 
Address, 7 Third St., Auburn, Me. 


Cotton, Dorothy, school music supervi- 
sor. Address, Sedgewick, Me. 


Cotton, Margaret Burnham, vocalist (al- 
to); b. Houlton, Me., July 5, 1886; d. J. 
Edgar and Maria P. Burnham; m. Alvin 
L.. Cotton; Aug> 10, 1613;.ed: N.-E.-Con- 
servatory; studied with Gertrude Miller 
and Samuel Cole, Boston; mem. Uni- 
tarian Church Choir; mem. Houlton 
Music Club; teacher public school music. 
Address, 13 Pleasant St., Houlton, Me. 


Couillard, Louis, m.t. Address, 157 Pine 
St., Lewiston, Me. 

Coulombe, Yvonne M., 
Winthrop, Me. 


Courtemanche, Janette, m.t. Address, 138 
Main St., Biddeford, Me. 

Covey, Eugene Leslie, vocalist (tenor), 
teacher of piano; b. Lamoine, Me., March 
8, 1900; s. James S. and Julia E. Covey; 
ed. Higgins Classical Institute, Charles- 


m.t. Address, 


380 MUSIC AND MUSICIANS OF MAINE 


ton, Me., Farmington State Normal 
School and University of Maine sum- 
mer school; studied piano with Helen 
Nason, Kenduskeag, Me., Mrs. Isabelle 
Clary, Livermore Falls, Me., and S. F. 
Holt, Quincy, Mass. Address, 180 
Bloomfield Ave., Hartford, Conn. 


Covey, Dr. Florence Alice, vocalist (alto); 
mem. Portland Festival Chorus. Res. 
Wildwood, Cumberland Foreside, Me. 
Office, 477 Congress St., Portland, Me. 


Crabtree, Harry L., Conductor, Ellsworth 
Festival Chorus; Dir. Eastern Maine Mu- 
sical Association, 1928. Address, Ells- 
worth, Me. 


Crafts, Seldon T., organist, teacher, con- 
ductor; b. Amherst, Nova Scotia; s. 
Emules S. and Elizabeth Tupper Crafts; 
m: “Abce—B. + Conant,” jan. 16.1905; 
studied with Everett Truette, E. W. 
Hanscom and Frank L. Rankin; Con- 
ductor Portland Festival Chorus for 
about 15 yrs.; Conductor Lewiston and 
Auburn Festival Chorus; Conductor 
Lewiston and Auburn Oratorio Society; 
org. State Street Cong’l Church, Port- 
land, 20 yrs.; Director of Music at 
Bates College since 1925; teacher of 
piano and organ. Mail address, 46 Lis- 
bon St.; res., 6 Frye Street, Lewiston, 
Me. 

Cragg, Beatrice Baker, music teacher. 
Address, 4 Davis St., So. Portland, Me. 


Craig, Margaret, school music supervisor. 
Address, Charleston, Me. 


Crandelmire, Pauline, 1m.t. 
Brownville, Me. 


Crangle, Howard (tuba); mem. Portland 
Municipal Orchestra. Address, Port- 
land, Me. 


Craven, Mrs. James H., pianist; mem. 
Portland Rossini Club. Address, 99 
Park St., Portland, Me. 


Craven, Margaret, vocalist; mem. Wom- 
en’s Choral Society. Address, 71 Winter 
St., Portland, Me. 


Crawford, Mrs. E. L., Pres. Brunswick 
Festival Chorus. Address, Brunswick, 
Me. 

Crawford, Harold Ellms, vocalist (tenor); 
b. Natick, -Mass., April 17, 1893; s. 
Charles H. and Gertrude Ellms Craw- 
ford; m. Blanche Vivian Watts, July 3, 
1926; ed. Dexter, Me.; mem. Crawford’s 
Orchestra (cornet). Vocation, woolen 
mill mgr. and auditor. Address, Clinton, 
Me. 


Address, 


Creighton, June Andrews, pianist and vo- 
calist (soprano); b. Thomaston, Me.; d. 
Nat. and Grace M. Andrews; ed. Thom- 
aston High School and N. E. Conserva- 
tory of Music; studied music under 
Edith Castle and Samuel W. Cole; su- 
pervisor of music in schools of Bar Har- 
ber; mem. Congregational and Baptist 
Church Choirs, Thomaston; mem. Mac- 
Dowell Club, Boston. Address, Thom- 
aston, Me. 


Cressey, Charles Robert, organist, com- 
poser; b. Gorham, Me., Dec. 7, 1854; s. 
William W. and Frances Ellen Rounds 
Cressey; m. Annie C. Johnson, Oct., 
1882; 2nd Alice F. O’Neill, Nov. 23, 
1924; ed. Gorham, Me.; studied with 
George Quimby and George Marston; 
organist, Pine St., Free St., Church of 
Messiah and All Souls Church; mem. 
Kotzschmar Club, Portland Club, I. O. 
O. F., K. of P., and Gorham Grange; 
Pres. Cressey & Allen, dealers in Music 
and Musical Instruments, established, 
1884; composer, 20 church anthems, 12 
piano pieces, 3rd and 4th grade songs, 
sacred and secular. Vocation, piano 
dealer. Address, 64 Carleton St., Port- 
land, Me. 


Cressey, Cleveland B., vocalist (tenor); 
b. Gorham, Me., Nov. 8, 1892; s. Frank 
W. and Jennie -M. Berry Cressey; m. 
Clara I. LaFountaine, Sept. 7, 1914; ed. 
Biddeford, Me.; studied with Ernest J. 
Hill, Portland; mem. Portland Festival 
Chorus. Vocation, stenographer. Ad- 
dress, 1066 Congress St., Portland, Me. 


Crie, Kelley B., Treas. Rockland Festival 
Chorus. Address, Rockland, Me. 


Crockett, A. T., m.t. Address, 12 Grace 
St., Rockland, Me. 


Crockett, George Albian, pianist; b. Bath, 
Me., July 23, 1890; s. William H. and 
Emma Jane Crockett; ed. Brunswick, 
Me.; studied with Mabel Murray; Vice 
Pres. Musicians Union; mem. Ameri- 
can Legion; composer, “Sleep Little 
Piccaninny”; musical director amateur 
minstrels; dramatic coach, entertainer. 
Address, 22 Third St., Eastport, Me. 


Crockett, Sadie Russell, pianist, vocalist; 
b. St. John, N. B.; d. Fred M. and Mina 
Conlogue Russell; m. Royal E. Crock- 
ett, June 3, 1913; studied with Rose E. 
Donovan (piano) and voice with Mary 
Burpee; mem. St. Mary’s Catholic 
Church Choir; mem. Houlton Woman’s 
Club, St. Mary’s Charitable Society, 


BIOGRAPHICAL SECTION—1927-1928 381 


American Leg. Aux. and Houlton Mu- 
sic Club; Past Pres. Houlton Music 
Club. Address, 23 Charles St., Houlton, 
Me. 

Cronham, Charles Raymond, concert or- 
ganist; b. Jersey City, N.J., June 14, 1896; 
s. Charles Edgar and Bessie A. Cronham ; 
ed. nublic schools, N. J., Dartmouth Col- 
lege; m. May Korb, May 28, 1925; stud- 
ied with Prof. Leonard B. McWhood; 
mem. National Association of Organists 
and Pres. Port. Chapter; mem. Rotary, 
Kotzschmar and Economic Clubs; org. 
and inst. of music, Dartmouth College, 
1919-23; org. and dir. of music, Lake 
Placid Club, N. Y., 1923-24; municipal 
organist, Portland, Me., since 1924; con- 
ductor Portland Municipal Orchestra; 
composer, pieces for organ, voice, chorus 
and numerous transcriptions for organ 


and instrumental combinations. Address, 
Room T, City Hall, Portland, Me. 


Cronham, Mrs. Charles Raymond (see 


May Korb). 


Cropley, Mrs. Eliza Belle, vocalist (so- 
prano); b. Portland, Me., Oct. 24, 1876; 
d. Edward M. and Eliza Ann Lang; m. 
Alton Irving Cropley, Sept. 16, 1896; ed. 
Westbrook Seminary; studied with Mrs. 
Fred Palmer, William Whitney (at N. 
E. Conservatory of Music), Furlong, 
L. B. Cain and W. H. Dennett; former 
mem. Woodfords Univ. Church Choir, 
Festival Chorus and Madrigal Club; 
mem. Women’s Choral Society, Wood- 
fords Club, Eastern Star, O. E. S. 509. 
vou 442 Woodford St., Portland, 
e. 
Crosby, Mrs. Henri, Pres. Philharmonic 
Club, Lewiston. Address, Lewiston, Me. 


Crosby, Phoebe Pendleton, concert artist 
(soprano); b. Islesboro, Me., Jan. 26, 
1889; d. Fields Coombs and Sabrina 
Veazie Seeley Pendleton; m. Carl Kre- 
ger Crosby, July 21, 1909; ed. Me. Wes- 
leyan Seminary; studied with Dr. Morse; 
former mem. Chaminade Club, Brook- 
lyn; mem. Actors Equity Asso., Maine 
Women’s Club of N. Y.; hon. mem. Int. 
Printing and Pressmen’s Union of North 
America; mem. Eastern Star. Address, 
1085 Park Ave., New York. 


Crosman, A. Hurford, vocalist (bass); 
mem. Portland Men’s Singing Club and 
Portland Municipal Orchestra (clari- 
net). Address, 16 Marlow St., Portland, 
Me. 

Cross, Adelaide, vocalist. Address, Rock- 
land, Me. 


PHOEBE CROSBY, MEZZO SOPRANO. 


Crouse, Ruth Porter, vocalist (contralto) ; 


b. Danville, Quebec, Canada, April 25, 
1901; d. Dr. Irwin J. and Evelyn Mead 
Porter; m. Jasper F. Crouse, June 12, 
1926; ed. Aurora College; studied with 
Harry Detweiler, Maude Bouslough, 
Albert Borroff, Leon Corliss; soloist 
Bethel Baptist Church, Ft. Fairfield; 
mem. choir Advent Christian Church, 
First M. E. Church, Aurora, and Trinity 
Epis., Chicago; mem. Aurora College 
Orch. (violin); mem. Music Club of A. 
C., Music News Subscriber, mem. Nor- 
dica Club, Ft. Fairfield; dir. H. S. Glee 
Club and orch. and dir. of Young Peo- 
ple’s and Adult Choir at Bethel Baptist 
Church, Fort Fairfield. Address, High 
St., Fort Fairfield, Me. 


Crowell, Alan W., violinist; b. Orono, Me., 


Jan. 5, 1903; s. C. Parker and Mary H. 
Crowell; ed. Bangor, Me., and M. I. T., 
Cambridge, Mass.; studied with H. M. 
Pullen; mem. Tech. Shaw Orchestra. 
Address, 16 Parkview Ave., Bangor, Me. 


Crowley, Florence, school music supervi- 


visor. Address, Biddeford, Me. 


Croxford, Lyndon Farrington, educator; 


b. Carmel, Me., Aug. 4, 1900; s. Wilber 


382 MUSIC AND MUSICIANS OF MAINE 


P. and Lois F. Croxford; ed. University 
of Maine; studied with C. Winfield Rich- 
mond of Bangor; College of Music, Sy- 
racuse University; graduate Eastman 
School of Music with degree Bachelor 
of Music; also studied with Raymond 
Wilson; formerly organist Methodist 
Church, Carmel; mem. College Glee 
Club and Orchestra; mem. piano faculty 
of Eastman School of Music. Address, 
142 N. Union St., Rochester, N. Y. 


Cumming, Mrs. Raymond, m.t. Address, ~ 


Houlton, Me. 


Cummings, Mrs. Frank S., Sec. Lewiston 
Festival Chorus. Address, Lewiston, Me. 


Cummings, Helen L., pianist; accompan- 
ist Lewiston-Auburn Festival Chorus. Ad- 
dress, Lewiston, Me. 


Cummings, Ruth, teacher of piano; b. 
Norway, Me., March 6, 1896; d. Stephen 
B. and Mattie (Jordan) Cummings; ed. 
Faelten Pianoforte School, Boston, 
Mass.; studied with Carl Faelten. Ad- 
dress, 216 Main St., Norway, Me. 


Cumston, Dr. Charles Henry, vocalist. Ad- 
dress, Brunswick, Me. 


Cunningham, Agnes Hall, vocalist (con- 
tralto); b. Raynham, Mass., Aug. 13, 
1866; d. David Buffington and Mary 
Parsons Brimmer Hall; m. John Albert 
Cunningham, Nov. 5, 1890; ed. Ells- 
worth, Me.; studied with Mrs. W. F. 
Shaw, Bangor, and Wm. Burton Robin- 
son, Boston; mem. Cong. Church Choir, 
Ellsworth; mem. Eastern Me. Festival 
Chorus over 20 yrs. and Cong. Church 
Choir, 35 yrs. Address, 41 Church St., 
Ellsworth, Me. 


Cunningham, Elizabeth A., m.t. Address, 
144 Bridge St., Gardiner, Me. 


Cunningham, Helen E., soloist (soprano) ; 
b. Portland, Me., Nov. 22, 1895; d. Eubra 
S. and Harriet E. Cunningham; ed. 
Portland, Me.; studied with Howard 
Stevens and Jennie King Bragdon; 
mem. choir Second Parish Church. Ad- 
dress, 514 Deering Ave., Portland, Me. 


Cunningham, John Albert, vocalist (bass) ; 
b. Ellsworth, Me., Jan. 7, 1868; s. Hud- 
son Bishop and Emily Robinson Cun- 
ningham; m. Agnes Hall, Nov. 5, 1890; 
ed. Ellsworth, Me., studied with Frau- 
line Schasingher; mem. Eastern Maine 
Festival Chorus over 20 yrs., and Cong. 
Church Choir, 25 yrs.; City Clerk; Agent 
for Mutual Benefit Ins. Co. Address, 41 
Church St., Ellsworth, Me. 


Curran, Mary E., piano teacher; b. Port- 
land, Me.; d. Martin and Eliza Naylor 
Curran; ed. Portland; studied with Prof. 
Quimby and Allen H. Daugherty; ac- 
companist for the Elite Mandolin Or- 
chestra; mem. Serenaders. Address, 100 
Oxford St. Studio 5484 Congress St., 
Portland, Me. 


Currier, Christine Worthen, church organ- 
ist, pianist; b. Corinna, Me., April 17, 
1895; d. Joseph Henry and Mary Mad- 
docks Worthen; m. Rey. George F. 
Currier, June 22, 1918; ed. Corinna 
Union Academy and Boston; studied 
voice with Grace Lowell Bradbury, 
and Mrs. F. P. Clark; piano with Louise 
(Orth) Bosworth; mem. choir Howland 
Baptist Church; church soloist (so- 
prano). Address, Auburn, Me. 


Curtis, Cyrus Hermann Kotzschmar, mu- 
sic patron; b. Portland, Me., June 18, 
1850; s. of Cyrus Libby and Salome 
Cummings- Curtis; ed. N. E. Public 
Schools; m. Louisa Knapp of Boston, 
March 10, 1875 (died Feb. 25, 1910) and 
Kate Stanwood Pillsbury (a second, cou- 
sin), of Milwaukee, Aug. 2, 1910; when a 
boy he learned to play piano and organ 
from watching and listening to Her- 
mann Kotzschmar, org. at First Parish 
Unit., form. Cong., Church in Portland 
and later sang tenor in a Boston choir; 
was selected to sing in a Sunday School 
Convention in Tremont Temple in a 
quartet with Lillian Norton, who later 
became famous as “Nordica”; in 1872 
sang in the Great World Peace Jubilee 
in Boston; went to Philadelphia in 1876 
and became publisher of The Tribune 
and Farmer. The magnificent Kotzsch- 
mar Memorial Organ dedicated at Port- 
land, Me., Aug. 22, 1912, was his gift to 
the city in memory of the old music 
master who had been his inspiration; 
his other benefactions to music include 
the Cyrus L. Curtis Scholarship in the 
Curtis Institute of Music, which was 
founded by his daughter, Mary Louise 
(Mrs. Edward Bok) in Philadelphia in 
1924, and which was endowed by him 
in memory of his father; received hon- 
orary degrees, Bowdoin College, M.A.., 
1913; Ursinus College; isi. ators: 
Pres. Curtis Publishing Co., publishers 
of The Ladies’ Home Journal, which 
he established in 1883, The Saturday 
Evening Post, established by Benjamin 
Franklin in 1728, and The Country 
Gentleman; Pres. Curtis-Martin News- 


BIOGRAPHICAL SECTION —I1927-1928 383 
Ep SRE SR a aS ASA as en a cc 


papers, Inc., publishers of the Phila- 
delphia Public Ledger, Philadelphia 
Morning Sun and the New York Eve- 
ming ost; x. Pres. N. E. Society of 
Philadelphia; director of The Academy 
of Music Corporation, First National 
Bank, The Land Title and, Trust Com- 
pany, all of Philadelphia, and The Mu- 
tual Life Ins. Co. of N. Y.; hon. mem. 
Portland Men’s Singing Club. Home, 
Wyncote, Pa. O., Public Ledger Bldg., 
Philadelphia, Pa. 


Curtis, Faustina, mem. Schumann Club. 
Address, Bangor, Me. 


Curtis, Lora Leone, pianist; b. Hampden, 
Me., Jan. 3, 1886; d. Walter and Mary 
E. Whitmore; m. Everett F. Curtis, 
Oct. 19, 1910; ed. Hampden Academy; 
studied with Mrs. Allen Rogers, K. A. 
Ringwell, Adelbert Wells Sprague and 
C. Winfield Richmond; organist Meth- 
odist Church, Hampden, Me. Address, 
83 Center St., Bangor, Me. 


Cushing, Alice J., pianist; b. Portland, 
Me., d. Sylvester and Lucy M. Cushing; 
studied with Mildred Kittredge Miller, 
Helen Foster and Anna Carey Bock; 
mem. Marston Club. Vocation, stenog- 
rapher. Address, 107 North St., Port- 
land, Me. 

Cushing, Emma Merrill, teacher of voice, 
piano; b. Gray, Me., Feb. 15, 1868; d. 
John Tappan and Frances Young Mer- 
rill; m. Louis Taylor Cushing, Nov. 28, 
1895; ed. Bridgton Academy; studied 
with Nettie Milliken Fellows, Mr. and 
Mrs. W. H. Dennett, Portland, and Ma- 
dame E. M. de Angelis, Boston; mem. 
choir Williston and State St. Churches, 
Portland, Bates St. Baptist, Lewiston, 
and High St. Cong., Auburn; mem. Me. 
Music Festival; conductor Gray Unit 
for I5 yrs.; taught music in village 
schools; soprano’ soloist. Address, 
Church St., Gray, Me. Mail address, 
Box 92, Gray, Me. 

Cushing, Walter P., tenor; mem. Portland 
Men’s Singing Club. Address, Portland, 
Me. 

Cushman, 
Bach Ckoir, Bangor. 
Me. 

Cushman, Sylvia, pianist; 
Ellsworth Festival Chorus. 
worth, Me. 

Cutter, Alice, mem. MacDowell Club. Ad- 
dress, 116 Danforth St., Portland, Me. 


Cutts, Grace Merrill, violinist; b. Saco, 


Mrs. Marion, vocalist; mem. 
Address, Bangor, 


accompanist 


Address, Ells- 


Me.; d. Benjamin and Martha Merrill: 

m. George Usher Cutts; studied with 

Felix Winternitz. Vocation, teacher of 

violin and elementary studies in public 

ees Address, Boom Road, Saco, 
e. 

Daggett, Cecil Maurice, pianist, organist, 
conductor, vocalist; b. Fairfield, Me., May 
13, 1882; s. William T. and Harriet Bar- 
rett Daggett; grad. Coburn Classical In- 
stitute, 1899, Colby College, A.B., 1903; 
studied music privately; m. Martha B. 
Purinton, Sept. 12, 1905; org. and choir- 
master First Baptist Church, Waterville, 
1900-03; dir. Colby College Glee Club, 
1902-03, Male Quartet and Male Glee 
Club, Montreal, Y. M. C. A., 1903-04; org. 
and choirmaster Unitarian Church, Wa- 
terville, 1906; dir. Cecilia Choral Society, 
1907-13, Colby College Glee Club, 1908-16, 
Woronoco. Male Quartet since roIo, 
Knights Templar Male Quartet since 
1914; mem. Cecilia Choral Society and 
Festival Chorus, Waterville. Address, 7 
Sheldon Place, Waterville, Me. 


Daggett, Doris N., vocalist; b. Rockland, 
Me., Aug. 25, 1906; d. William H. and 
Elizabeth M. Daggett; mem. choir 
Littlefield Memorial Free Baptist 
Church, Rockland, Me. Vocation, sten- 
ographer. Address, 47 Granite St., Rock- 
land, Me. 


Daggett, Emma R., m.t. Address, R. F. D. 
No. 1, Greene, Me. 


Dallero, O. A., violinist; b. Portsmouth, 
N: Hi. Dece1, 1007;"s. Alfredo and El- 
vira Dallero; studied with Josafa Morin; 
mem. Lewiston-Auburn Symphony Or- 
chestra. Address, 374 Main St., Lewis- 
ton, Me. 


Dalton, Mrs. Harry, violinist; studied with 
David E. Fisher; mem. B. P. W. Club 
Orchestra, and Laura E. Ross’ Ladies 
Orchestra. Address, 453 Cumberland 
Ave., Portland, Me. 


Dalton, Kathleen M., vocalist, pianist; b. 
Houlton, Me.; d. Joseph and Barbara 
Sharpey O’Brien; m. Louis Dalton, July 
19, 1915; ed Houlton, Me.; studied piano 
with Gertrude Attridge, voice with Mrs. 
Hollis Lindsay; mem. choir St. Mary’s 
Catholic Church: mem. Houlton Music 
Clupvand Beew PP. W: Club. Vocation, 
newspaper writer. Address, 3 Franklin 
Ave., Houlton, Me. 

Damon, Frances Brackett, song writer; b. 
Dexter, Me., May 21, 1857; d. Nathan 
G. and Mary Towle Brackett; ed. Nor. 


384 


EDITH M. DAVIDSON, EDUCATOR. 


Sch. 1880; m. Lyman R. Damon, Dec. I, 
1883; writer of songs, short stories, es- 
says, playlets, etc.; edited “Quiet Hours 
Magazine,” “The Tally-Ho”; pub. “The 
Bodfish Road”; Trustee State Reforma- 
tory; prison and jail work. Res., 17 
Prospect St., Dexter, Me. 


Damren, Olive M., music teacher. Ad- 


dress, 45 Thirlmere Ave., So. Portland, 
Me. 


Darker, Mrs. Caroline, vocalist; mem. 


MacDowell Club. Address, Portland, 
Me. 


Davenport, Mrs. M. G. (Geneva A.), vo- 


calist (soprano); b. Livermore Falls, 
Aug. 27, 1895; d. A. P. and Vesta L. 
Ricker; m. Aug. 10, 1916; ed. Livermore 
Falls High School, and Palmer School 
of Chiropractic, Davenport, Iowa; stud- 
ied with Florence Sawyer and Mabel 
Starbird; mem. Maine Music Festival 
Chorus; M. E. Church Choir at Liver- 
more Falls and M. E. Church at Ilion, 
N. Y. Vocation, chiropractor. Address, 
Livermore Falls, Me. 


Davidson, Edith May, teacher of piano; b. 
Belfast, Me., Nov. 6, 1883; d. John S. 


MUSIC AND MUSICIANS OF MAINE 


and Mary F. (Smith) Davidson; ed. N. 
E. Conservatory of Music and Institute 
of Musical Art, N. Y. City; studied with 
Carl Baermann; former organist, Uni- 
versalist, Unitarian and Methodist 
Churches, Belfast; mem. Belfast Musi- 
cal Society, Belfast Philharmonic Assn. 
and Baermann Society of Boston. Ad- 
dress, 57 Franklin St., Rumford, Me. 


Davis, Arthur C., cornet soloist; b. Sidney, 
Me., Jan. 6, 1869; s. Charles H. and 
Eliza M. Davis; m. Jennie M. Trask, 
June 4, 1891; ed. Sidney, Me.; studied 
with F. A. Dennis; mem. Augusta Cadet 
Band (Sec.- Treas.); mem. Augusta 
Symphony Orchestra; Commander, H. 
G. Staples Camp, S. O. U., U.S. A. Vo- 
cation, freight clerk. Address, 6 Child 
St., Augusta, Me. 


Davis, Clara, Treas. Milo Festival Chorus. 
Address, Milo, Me. 


Davis, Mrs. Clifford, m.t. Address, So. 
Paris, Me. 


Davis, Mrs. Frederick L., m.t. Address, 
So. Berwick, Me. 


Davis, Gertrude (Kimball) Sartwell, or- 
ganist, concert pianist; b. Whitefield, N. 
H., Feb. 17, 1873; d. Joel McGregor and 
Anna Elizabeth Sartwell; m. Gilman 
Davis, June 30, 1891; at age of 14 suc- 
ceeded her father as organist of the First 
Baptist Church, Whitefield, N. H., which 
position she occupied during her resi- 
dence there; has been organist at Wil- 
liston and Chestnut St. Churches, Port- 
land; her early musical instruction was 
obtained from her father; studied at N. 
E. Conservatory, and with Frank L. 
Rankin, Portland; after that for more 
than a year at the Leschetizky School 
in Vienna, Austria, during which time 
she also did some work with Emil Sauer 
at the Vienna Conservatory; accompan- 
ist for Portland Festival Chorus and 
Western Maine Festival Asso. 25 yrs.; 
active mem. Rossini Club, Portland; 
mem. Portland Branch, N. E. Chapter, 
Am. Guild of Organists; organist since 
June 3, 1926, at the First Church of 
Christ Scientist. Vocation, piano teacher, 
655 Congress St., Portland, Me. 


Davis, Hazel Small, piane teacher; b. Guil- 
ford, Me., Dec. 24, 1893; d. Leland A. 
and Jennie J. Small; m. Raymond W. 
Davis, Feb. 2, 1918; ed. Guilford, Me.; 
studied with C. Winfield Richmond, 
Bangor; organist Universalist Church; 
mem. Woman’s Club of Guilford and 


BIOGRAPHICAL SECTION—1927-1928 385 


Eastern Star. Address, Oak St., Guil- 
ford, Me. 

Davis, Marshall, vocalist (bass), violinist; 
b. Portland, Me., 1870; s. John H. and 
Jennie Constable Davis; m. Marguerite 
Gifford, March 1, 1905; studied with Anne 
Davis, Eva Goodwin, Ernest McKechnie 
and Wm. H. Dennett; mem. Harvey 
Murray’s State St. Chorus, Portland 
Philharmonic, 1888-92; Librarian, Haydn 
Association; Pres. and Luib., Portland 
Festival Chorus. Vocation, bank teller. 
Address, 10 Orland St., Portland, Me. 


Davis, W. R., leader Baptist Church Choir, 
Farmington, Me. 


Davis, Mrs. W. R., m.t. Address, Farm- 
ington, Me. 

Day, Paul, Librarian Milo Festival Chorus. 
Address, Milo, Me. 


Day, Mrs. Walter F., m.t. 
South St., Bath, Me. 


Dean, Dorothy, school music supervisor. 
Address, 63 Lincoln St., Bangor, Me. 


Dean, Mrs. James Lowell, composer, vo- 
calist (soprano); b. Clinton, Me., Feb. 7, 
1875; d. John and Philena (Roundy) 
Reynolds; studied with Mrs. F. B. Hub- 
bard and Isidore Braggiotti; former 
mem. Baptist Church Choir, Clinton; 
mem. Cecilia Choral Society, Augusta; 
mem. Maine Music Festival many years. 
Address, 43 Benton Ave., Waterville, Me. 


Dean, Mrs. Leon A., org. Forest Ave. 
Cong. Church. Address, Bangor, Me. 


Dean, Leroy, teacher public school music, 
Bangor, Me. 


Deane, Frank N., trombone; mem. Deane’s 
Orchestral Club. Address, 20 Gray St., 
Portland, Me. 


Deane, Mrs. Frank N., cellist and pianist. 
mem. Deane’s Orchestral Club. Address, 
20 Gray St., Portland, Me. 


DeGrys, Viola, pianist, music teacher. Ad- 
dress, Eastland Hotel, Portland, Me. 


Delano, Charles M. G., bandsman (bass); 
b. Dixfield, Me., Jan. 12, 1878; s. Charles 
G. and Abbie Sanders Delano; m. L. E. 
Theall, Aug. 17, 1919; ed. Dixfield Acad- 
emy and Bridgton Academy; former 
mem. bands at Dixfield, Locke Mills, New 
Gloucester, Madison, the Malcon Band, 
Malden, Mass., 33 Reg. C. A. C. Band, 
Mass., 12 Div. 1918, 3rd Maine Infantry 
Nat. Guard, Rumford Band, 1920-23, 
Mainente’s Band, Rumford, 1926; mem. 
Rumford Symphony Orchestra and Rum- 


Address, 62 


ford Band. Vocation, R. R. telegraph op- 

erator and station agt. Address, Dixfield, 
e. 

Delaronde, Charles A., musician; b. Ma- 
lone, N. Y., April 22, 1871; s. Charles D. 
and Henrietta (Thibodeau) Delaronde; 
ed. Franklin Acad., N. Y.; m. Angelina 
Belisle; Sec. and Treas. of Fed. of Mu- - 
sicians. Vocation, merchant. Res., 166 
College St., Lewiston, Me. 


DeMerritt, Sarah Ames Sanborn, teacher 
of piano; b. East Machias, Me., June 23, 
1889; d. Frank and Elizabeth Brown 
Sanborn; m. Robert Elwyn DeMerritt, 
Nov. 15, 1918; studied with Nellie Long- 
fellow Ralph, Machias, Me., Anne Gil- 
breth, Cross School of Music, John H. 
Mason, Prov., R. I., Mrs. Reuben Cot- 
ton and Mary E. O’Brion, Boston, 
Mass.; mem. Cong. Church Choir, E. 
Machias; mem. Arion Club, MacDowell 
Club and Monday Morning Musicale 
Club, Prov.) R. L;: accompanist; mem. 
Portland Rossini Club; faculty, Mary C. 
Wheeler School, Providence. Res., 17 
Cedar St., So. Portland. Mail address, 
Fort Preble, Portland, Me. 


Demers, Joseph A., m.t. Address, 2 Ham- 
mond St., Portland, Me. 

Demers, Valdemar Joseph, S. M., educa- 
tor; b. Montreal, Canada, Jan. 9, 1895; 
s. Louis O. and Delia Lajoie Demers; 
ed. Catholic University, Washington, D. 
C.; studied with N. R. Amelotle, Bos- 
ton; director St. Mary’s Brass Band and 
St. Mary’s Symphony Orchestra (clari- 
net, saxophone, flute, baritone, violin, 
cello); pres. and dir. St. Mary’s Philhar- 
monic Society; mem. Van Buren K. C. 
Orchestra; arranger for choir and or- 
chestra; former mem. Our Lady of Vic- 
tory Boys’ Choir, Boston, 1906-08, Mar- 
ist Seminary Orchestra, Washington, D. 
C., 1908-14, St. Mary’s Manor Choral 
and Orchestra, Langhorne, Pa., 1914-15, 
Catholic Univ. Choral and Orchestra. 
Wash., D. C., 1915-21, Jefferson Orches- 
tra, New Orleans, La., 1919-20. Clergy- 
man, College Professor. Res., St. Mary’s 
College, Van Buren, Me. 


Denar, Aubrey, Conductor St. Croix of 

ee Festival Chorus. Address, Calais, 
e. 

Dennis, Francis Arthur, band leader, mu- 
sic dealer; b. Madison, Me.; s. George 
F. and Emma E. Dennis; m. M. Myrtelle 
Dyer; ed. Dirigo Commercial College; 
studied with Carl Eichler and Henry 
C. Brown; dir. and manager Augusta 


386 


Cadet Band and Dennis Orchestra, 25 
yrs. (violin, trumpet); mem. all Masonic 
Bodies, I. O. O. F., Trinity Com., No. 7, 
K. T., Kora Temple Mystic Shrine. Vo- 
cation, music dealer. Res., 109 Cony St., 
Augusta, Me. Address, 233 Water St. 


Desaulniers, Lucy Jane O’Connell, reader; 
b. Lewiston, Me., April 15, 1883; d. John 
B. and Anna McCarty O’Connell; ed. 
Tufts, M.D. 1907; m. Dr. George E. De- 
saulniers, Nov. 22, 1917; house phys. at 
Sherborn Ref., 1908; gen. prac. of med., 
1909-19; examr. N. E. Tel. & Tel. Co., 
1920-28; electro-physiotherapy special- 
ist; mem. Andros. Co. Med. Assn., B. P. 
W., Spinet Club, Philharmonic Club, 
Stanton Bird Club and American Col- 
lege of Physical Therapy and Fellow of 
the American Medical Asso. Res., 92 
Pine St., Lewiston, Me. 


Devoe, Irving W., m.t. Address, 221 Elm 
St., Bangor, Me. 


MUSIC AND MUSICIANS OF MAINE 


the Door,” “We’re Growing Old To- 
gether,” “On the Kennebec,” “Milburn 
Belles Waltzes,’ “My Heart Remem- 
bers Thee,” “At Sunset,” “Goodbye 
Mother,” “To the Land Where Our 
Dreams Come True,” “Flag of Our 
Country,” “For Flag and Country,” 
“When Clover Is Wet with the Dew,” 
and “Back to Childhood’s Home and 
Mother,” etc.; 
Council R. & S. M. of the U. S.; Na- 
tional Grange, Past M. I. Grand Master 
Grand Council of Maine, Maine Consis- 
tory 32d degree, Grand Lodge of Me., 
I. O. O. F.; Sec’y Official Board of Cen- 
tenary M. E. Church, Skowhegan. Vo- 
cation, mem. of music firm of Dinsmore 
& Bickford, 41 Water St. Res., 72 East 
Front St., Skowhegan, Me. 


Dionne, Laurentine, piano teacher; b. Lew- 


iston, Me.; d. Emile and Sarah Evans 
Dionne; ed. Convent Dominicain, Lew- 
iston; studied with Miss Tontain and 


mem. General Grand © 


ee ee ee See 


Dewolfe, Elizabeth, m.t. Address, 193 
Danforth St., Portland, Me. 


Dingley, Bret Harte, violinist; b. Auburn, 


Henry F. Roy. Address, Lewiston, Me. 


Dixon, Lee W., teacher of violin; b. Lis- 
bon, Me.; s. Arbury V. and Sarah Alice 


Dingley - Mathews, 


Me., Jan. 15, 1871; s. Frank L. and Lee 
M. Dingley; m. Beatrice L. McMurray, 
Dec. 30, 1903; ed. Nichols Latin School, 
Bates College, Lewiston, and Amherst 
College; studied with Carl Mosher of 


Berlin, Hoche Schule in Berlin, Charles . 


M. Loeffler of Boston Symphony Or- 
chestra, and Emanuel Wirth of the Joa- 
chim String Quartette; has appeared as 
violin soloist at Maine Music Festival 
and other concerts; hon. mem. Glover’s 
Band, Auburn; chairman music commit- 
tee of the High St. Cong. Church, Au- 
burn, 1922; member for several years. 
Vocation, newspaper publisher; Pres. 
and Musical Editor of the Lewiston 
Journal Co. Address, 11 Highland St., 
Auburn, Me. 


Mrs. Blanche (see 


Channell Dixon; studied piano with Ar- 
thur N. Pettengill, Seldon Crafts, Alfred 
Brinkler and Julius L. Chaloff; violin 
with his father, Josef Udell, C. Paul 
Herfurth; voice with Alice Flood. Vo- 
cation, teacher of piano and violin. Ad- 
dress, Lisbon, Me. 


Dodds, Ruth Ellen, teacher of piano and 


theory; b. Petersburg, Ill.; d. Thomas 
Campbell and Laurette Colby Dodds; 
ed. Chicago Musical College and Ding- 
ley-Mathews Piano School; studied with 
Maurice Rosenfeld, Hans von Schil- 


ler, Jessie L. Gaynor and Blanche Ding- | 


ley-Mathews; mem. Rossini Club and 
Woman’s Literary Union, Portland; 
Treas. Colorado State Music Teacher’s 
Asso., 1922-24; Cor. Sec. Denver Musi- 
cians’ Society, 1922-23. Vocation, Direc- 


Mathews). tor, Piano Dept., Westbrook Seminary. 
Dinsmore, Harry Augustus, organist and Ven. 716 Stevens Ave., Portland, 

pianist; b. Skowhegan, Me., Dec. 1, ss 

1856; s. Tilson H. and Amanda H. Dins- Dodwell, Frances (see Mrs. Alexander — 

more; m. Laura Belle Hoxie, June 5, Seimens). 


1883; ed. Skowhegan and Kent’s Hill, Doe, Mrs. Annetta Clark, vocalist (so- — 


Me.; studied with Prof. and Mrs. Morse 
of Kent’s Hill; former mem. choir Cen- 
tenary M. E. Church, Skowhegan; for 
many years organist for all the Yorke 
Rite Masonic Bodies of Skowhegan; 
composer of 22 published pieces, “Sun- 
rise with the Master” (sacred song), 
“Where the Roses Twine the Trellis by 


prano), and teacher of piano; b. Rock- — 


land, Me., May 4, 1865; d. Oliver A. and 


Elizabeth A. Clark; m. Harris N. Doe, © 


Dec. 25, 1889; studied piano with A. T. 


Crockett and voice with Mrs. Ellen God- — 


frey, Rockland; former mem. executive 
committee Bangor Festival Chorus 


(mem. 27 yrs.); soloist in musical circles — 


BIOGRAPHICAL SECTION—1927-1928 387 


of Rockland; mem. choir Episcopal 
Church, Rockland; Cor. Sec. Woman’s 
Republican Club, Bangor; mem. and 
President (3 yrs.) Schumann Club, and 
President (3 yrs.) of Woman’s Club of 
Bangor. Vocation, teacher stenography 
and typewriting in Doe Business Col- 
lege. Address, 100 Highland St., Ban- 
gor, Me. 

Doe, Harold Oliver, violinist and teacher; 
b. Rockland, Me., Aug. 19, 1893; s. Har- 
ris N. and Annetta Clark Doe; ed. Ban- 
gor High School, University of Maine; 
studied with H. M. Pullen, Bangor, Felix 
Winternitz at N. E. Conservatory, and 
with Walter Habernicht of the Metro- 
politan Opera House orchestra, New 
York City; mem. Bangor Symphony 
Orchestra (2nd violin and viola) 17 yrs.; 
Bangor Festival Chorus (bass), Knights 
of Pythias, Conduskeag Canoe and 
Country Club, Bangor; 32 degree Mason 
and Knight Templar; first violinist Bi- 
jou Theatre Orchestra; concertmaster, 
Bangor Symphony Orchestra. Address, 
100 Highland St., Bangor, Me. 


Doherty, Wendell W., clarinet, saxophone; 
b. Mechanic Falls, Me., June 21, 1887; 
s. John A. and Sarah A. Doherty; m. 
Agnes C. LaRochelle; ed. Auburn, Me.; 
studied with Fred O. Corliss, Carl 
Khume; former mem. Jefferson Theatre 
Orchestra; Sec.-Treas. Portland Musi- 
cians’ Assn.; mem. Portland Orchestral 
Society, 1926. Vocation, music teacher. 
Studio, 5592 Congress. Res., 164 Brack- 
ett st. Lortiand. 


Dole, Nathan Haskell, author; b. Chelsea, 
Miser nue. 3t, 2352; s. Nathan and 
Caroline (Fletcher) Dole; ed. A.B. 
Harvard, 1874; m. Helen James Bennett, 
June 28, 1882; teacher, Des Veaux Coll., 
1874-75, Worcester H. S., 1875-76; pre- 
ceptor, Derby Acad., Hingham, Mass., 
1876-78; lit., art and musical editor, 
Phila. Press, 1881-87; lit. adviser, T. Y. 
Crowell & Co., 1887-1900; sec. dept. of 
pub., D. Appleton & Co., 1901; 20th 
Century Club, Castilian, Authors, Har- 
vard Mus. Assn.; Brookline Arts and 
Letters, Dofobs and Brothers of the 
Book, Chicago; Pres. Omar Khayyam 
Soc. of Am.; Bibliophile Soc.; author, 
Young Folks History of Russia, 1881, 
A Score of Famous Composers, 1801, 
Not Angels Quite, 1893, On the Point, 
1895, The Hawthorn Tree, and Other 
Poems, 1895, Poems for the Edu. Mus. 
Course, 1896, Life of Francis William 
Bird, 1897, Joseph Jefferson at Home, 


1898, Omar the Tentmaker—A Romance 
of Old Persia, 1899, Peace and Progress 
—The Building of the Organ and On- 
ward (poems), 1904, ’06, Six Italian Es- 
says, 1907, The Pilgrims and Other 
Poems, 1911, Alaska, 1909, Life of Count 
Tolstoi, 1911, The Spell of Switzerland, 
1913, Memoirs of the Baroness von Sutt- 
ner, 19090, When Thoughts Will Soar, 
1914, Tolstois Dramatic Works, 1923; 
editor, The Rubaiyat of Omar Khay- 
yam, 1896-99, The Mistakes We Make, 
1898, The Greek Poets, 1904, The Latin 
Poets, 1905, 10th edition of Bartlett’s 
Fam. Quotations with additions, Poems 
of Dr. Samuel S. Curry, with Biog., 
1923; also hundreds of songs and lyrical 
pieces for music from the Russian, etc.; 
mem. adv. council Simplified Spelling 
Bd.; hon. Vice Pres. Dante Soc. Am.; 
Boston Music Lovers’ Club. Res., Ja- 
maica Plain, Boston, Mass. Summer 
home, “The Moorings,” Ogunquit, Me. 


Dolley, Mrs. Helen M., school music su- 
pervisor. Address, Limerick, Me. 


Dolloff, Vesta, m.t. Address, Mount Ver- 
non, Me. 


Donald, May Norton, vocalist (alto); b. 
Addison, Me., Sept. 25, 1869; d. Welling- 
ton M. and Abbie B. Norton; m. Harry 
M. Donald, Dec. 19, 1895; ed. Addison, 
Me.; studied with Mrs. Stella Hall; 
mem. M. E. Church Choir; Sec. Addison 
Ladies’ Band; mem. Maine Musical Fes- 
tival, Bangor, Me. Vocation, milliner. 
Address, Main St., Addison, Me. 


Donnell, Frances, music teacher, pianist; 
b. Lancaster, N. H., Aug. 15, 1904; d. 
James William and Jessie Maude Don- 
nell; ed. Lancaster Academy; studied 
with Florence Libby and Eliza Woods; 
mem. choir Elm St. Methodist Church, 
So. Portland, also subt. organist; mem. 
Rossini Club, MacDowell Club; former 
mem. Lancaster Academy Orchestra; 
subt. pianist, Sunshine Trio. Address, 37 
Atlantic Ave., So. Portland, Me. 


Donovan, Ann Russell, organist for 25 
yrs.; b. Bangor, 1869; d. William and 
Ann Hammill Russell; m. Thomas G. 
Donovan; ed. N. E. Conservatory; stud- 
ied with H. W. Dunham; former Pres. 
Schumann Club. Address, 34 Second 
St., Bangor, Me. 

Donovan, Rose Ella, organist; b. Houlton, 
Me.; d. Timothy J. and Alice Hogan 
Donovan; ed. Convent at Calais and St. 
Elizabeth’s Academy, Portland; studied 
with Sisters of Mercy; mem. choir and 


388 


MUSIC AND MUSICIANS OF MAINE 


a 


org. at St. Mary’s Catholic Church, 35 
yrs.; mem. Bryson’s Orchestra, 19 yrs., 
and pianist and leader, 10 yrs.; mem. 
Business and Professional Women’s Club. 
Vocation, bank clerk. Address, 39 High- 
land Ave., Houlton, Me. 


Doron, Huldah S., music teacher, organist; 
b. Rochester, N. Y., May 9, 1809; d 
Charles Bedell and Mary Davis Doron; 
ed. Smith College; studied with Mrs. C. 
S. Huber, Mrs. Rodney Warren, Sara 
Hamilton; organist Christian Science 
Church. Vocation, teacher of piano. 
Address, 133 Essex St., Bangor, Me. 


Dorr, Harold W., m.t. Address, 100 Main 
St., Bangor, Me. 


Dostie, Claire, m.t. Address, 52 Howard 
St., Lewiston, Me. 


Dow, Helen Elizabeth, vocalist (soprano), 
pianist; b. Lowell, Mass., Jan. 25, 1906; 
d. George Lenwood and Rose Elizabeth 
Dow; studied with Inez Field Damon 
and William C. Heller. Vocation, super- 
visor of music. Address, Box 318, 
Rangeley, Me. 


Dow, Mrs. Mae Haskell, m.t. Address, 94 
Park Ave., Portland, Me. 


Down, Edith, org. Stevens Ave. Church, 
Portland, Me. Address, 32 Edgewood 
Ave., Portland, Me. 


Downing, Alfreda Rogers, vocalist (so- 
prano); b. Auburn, Me.; d. William 
Ernest and Josie Witham Rogers; m. 
Mellen True Downing, June 12, I917; 
ed. Auburn, Me.; studied at N. E. Con- 
servatory and with Mae Haskell (piano) ; 
voice with Blanche Towle, Boston, and 
Howard R. Stevens, Portland; soloist 
at Universalist Church, Lewiston; has 
been soloist at Methodist, Universalist, 
Sixth St. Cong. Churches, Auburn, Me.; 
mem. Philharmonic Club; has taken 
leading roles in number of operettas and 
dramas. Address, 63 Court St., Auburn, 
Me. 


Drake, F. E., Conductor Bath Festival 
Chorus. Address, Bath, Me. 

Drew, Harry Tilden, musician; b. Marsh- 
field Hills, Mass., July 4, 1878; s. Fred 
W. and Hattie (Tilden) Drew; m. Ethel 
B. Thibodeau, Nov. 19, 1912; K. of P. 
Res, 3°: Summer: “o.,. 105 » Main cst. 
Waterville, Me. 

Drinkwine, Florence R., cellist; b. Bangor, 
Me., 1901; d. Bennett and Addie Marcou 
Drinkwine; ed. Bangor, Me.; studied 
with Adelbert W. Sprague and Alice 
Flood; mem. Lewiston-Auburn Sym- 


phony Orchestra. Vocation, registered 
nurse. Address, 39 Jefferson St., Lewis- 
ton, Me. 


Dufail, Raoul, vocalist (tenor). 
Lewiston, Me. 


Duff, Sarah Robinson, vocalist (dramatic 
soprano) and teacher of singing; b. Ban- 
gor, Me.; d. Henry K. and Frances Mc- 
Clintock Robinson; m. Colonel Charles 
Duff; studied in Paris, London and 
Dresden under Mme. Marchesi, George 
Haenschell; author, Simple Truths used 
by great Singers, dedicated to her first 
pupil, Mary Garden. Address, 235 East 
62d St., New York. 


Dugal, A. J., org. and choir dir. Holy 
Family Church. Address, Lewiston, Me. 


Dugan, Mildred M., cellist; b. Portland, 
Me.; d. Walter H. and Anna Booker; 
studied with Mrs. Marion P. Horan; 
mem. Laura E. Ross Orchestra; mem. 
B. & P. W. Club, MacDowell Club, 
Portland Rossini Club, 1927, Portland 
Orchestral Society; cellist, MacDowell 
Trio and Brahms Trio. Res., 50 Water- 
ville St., Portland. 


Dumais, Ludger, m.t. Address, 5 Howard 
St., Lewiston, Me. 


Dunbar, Mrs. Oscar, m.t. Address, Ma- 
chias, Me. 

eee Bessie, m.t. Address, Washburn, 

e, 

Dunham, A.°M. (Mellie), fiddler; b. Nor- 
way, Me., July 29, 1853; s. Alanson M. 
and Mary A. Dunham; m. Emma F. 
Richardson, Oct. 3, 1875; ed. public 
schools Norway; leader Mellie Dun- 
ham’s Orchestra; composer, “Rippling 
Waves Waltz,” “Happy Hours Waltz,” 
“Norway Schottische,” “Heywood Schot- 
tische;” played for “old-time” dances for 
56 yrs.; 22 weeks on Keith’s Vaudeville 
Circuit; mem. Norway Grange, No. 45. 
Vocation, farmer and snowshoe maker. 
Res., R. F. D. No. 1, Norway, Me. 


Address, 


- Dunlap, Mrs. E. M., org. High St. Meth- 


me Church, Auburn. Address, Auburn, 

e. 

Dunleavy, Margaret, m.t. Address, Ells- 
worth, Me. 

Dunn, Florence, m.t. Address, Franklin, 
Me. 

Dunning, Alice S., Sec. Brunswick Festi- 
val Chorus. Address, Brunswick, Me. 

Duren, Ethel A., music teacher, pianist, 


vocalist (soprano); b. Presque Isle, Me., 
June 24, 1896; d. Harry Freeman and 


ee ee ee TR ee ee ee ee 


eS ee ae ee eee 


BIOGRAPHICAL SECTION—1927-1928 


Rose Munn Duren; studied with C. 
Winfield Richmond; soloist; mem. choir 
St. John’s Episcopal Church; mem. Mil- 
ler’s Orchestra, Schumann Club and 
Musicians’ Union; teacher of piano with 
class of 60 to 70 pupils. Address, 268 
Elm St., Bangor, Me. 


Duren, Viola A., violinist and _ teacher, 
concert artist; b. Presque Isle, Me.; d. 
Harry Freeman and Rosa J. Duren 
(both musicians); studied with A. Stan- 
ley Cayting; mem. Schumann Club and 
Symphony Orchestra, Bangor. Address, 
268 Elm St., Bangor, Me. 


Dwelley, Mary, m.t. Address, East Ma- 
chias, Me. 


Dwyer, Annie, m.t. Address, Orono, Me. 


Dymond, Mrs. Anna Torrens, pianist, 
cellist. Address, Bangor, Me. 
Eagan, Lawrence, vocalist (baritone); 


mem. Maine Harmony Four. Address, 
Lewiston, Me. 


Eames, Emma (see page 245). 
Paris, France. 

Eames, Emma H., music teacher; mother 
of Emma Eames. Address, 12440 Cedar 
Road, Cleveland, Ohio. 


Eaton, Henry B., Dir. Eastern Maine Mu- 
sical Association; Pres. St. Croix of Cal- 
ais Festival Chorus. Address, Calais, Me. 


Ebbeson, Agnes, vocalist; mem. Bach 
Choir, Bangor. Address, Bangor, Me. 


Edes, Mabelle Sawyer, pianist, accompan- 
ist; b. July 20, 1887; d. Andrew C. and 
Ella E. Sawyer; m. Dana H. Edes, Nov. 
7, 1916; ed. University of Maine; studied 
with Abbie Garland; formerly org. 
Cnrstiane ocienice. Church, Bangor; 
mem. Woman’s Club; dir. Ladies’ Quar- 
tette, Guilford. Address, Guilford, Me. 


Edgecomb, Frank M., violin teacher. Ad- 
dress, Kezar Falls, Me. 


Edgerly, Cora Emily, soloist (soprano), 
teacher of piano; b. Portland, Me.; d 
Frank J. and Abbie Waterman Edgerly;: 
ed. Portland High School, Bates Col- 
lege; studied music at American Insti- 
tute of Normal Methods; pipe organ 
with Latham True and Alfred Brinkler; 
voice with Millard Bowdoin, Ernest Hill 
and Elizabeth Brown; composer, “Gen- 
eral Pershing March,” ‘Military Hesita- 
tion Waltz,” “Roses in Bloom, Waltz 
Song,” and others; mem. Rossini Club, 
Portland Festival Chorus. Address, 341 
Stevens Ave., Portland, Me. 


Edwards, Azola Pike, piano téacher; b. 


Address, 


389 


Norway, Me., Sept. 16, 1893; d. Dennis 
and Nina Pike; m. Ashley Field Ed- 
wards, July 3, 1918; ed. Norway High 
School; studied with Cora S. Briggs; 
mem. Kimball’s Orchestra. Address, 24 
Winter St., Norway, Me. 

Edwards, Claude H., organist, bandsman; 
b. Luxulyan, Cornwall, England, Nov. 
24, 1888; s. Samuel and Bessie Edwards; 
m. Doris Irene Knowlton, July 22, 1918; 
ed. Luxulyan; studied with Profs. Thom- 
as, Milner, Elford; manager, dir. and 
pianist of Edwards’ Orchestra; organist, 
Methodist Episcopal Church; mem. 
“Tweed Hyde’s Rube Band” (baritone 
and E flat alto). Address, 13 Munsey 
St., Livermore Falls, Me. 


Edwards, Ethel Maud, vocalist (soprano), 
clarinettist, violinist; b. Sabattus, Me.; d. 
John W. and Emma J. Edwards; ed. 
Brunswick High School, Farmington 
Normal, N. E. Conservatory, and Insti- 
tute Music Pedagogy; studied with Lulu 
Houdlette, Prof. Wass, Joseph Swett, 
Sinclair Thompson, Josef Udell; clarinet, 
Frank J. Rigby; Frank Burnham, Arthur 
Erickson and Jennie King Bragdon; also 
Inst. of Music, Normal Methods at La- 
sell and special subjects at Boston Univ.; 
Sec.-Treas. Maine Music Supervisors’ 
Assn.; mem. Me. Festival Chorus and 
Nat. and Eastern Music Supervisors’ 
Conference. Vocation, music supervisor 
public schools of Maine. Address, R. 
F. D. No. 6, Saco Rd., So. Portland, Me. 


Edwards, F. A., vocalist; mem. Bach 
Choir, Bangor. Address, Bangor, Me. 


Edwards, George Thornton, author, com- 
poser; b. Annapolis, Md., May 6, 1868 
(a resident of Maine for more than 50 
yrs.); s. Thomas and Mary J. (Peirce) 
Edwards; m. Caroline Content Sackett, 
of Rochester, N. Y., Feb. 14, 1893; author 
“Music and Musicians of Maine” (1928), 
“The Youthful Haunts of Longfellow” 
(1907); “The Appeal of Liberty,” “The 
New Hymn of Maryland’; compiler 
(with wife), “The Maine Poet’s Calen- 
dar” (1908) ; editor and publisher of “The 
Garland of Delight” (1912); contbr. 
verse to “Century,” “The Independent,” 
etc., and author of many articles on 
special subjects in other leading maga- 
zines; composer, “America, My Amer- 
ica,” a national peace anthem, “My 
Heart’s in Tipperary Where the River 
Shannon Flows,” “The Soldier’s Part- 
ing Song,” “Rock-a-Bye Baby,” “A 
Prayer,” “My Memories,” “Liberty, 


390 


Sweet Liberty,” “America, My Coun- 
try,” “Their Golden Wedding Song” 
(words written by his wife), “A Little 
Child’s Evening Prayer,’ “The Land 
of Sweet Adventure,” “State of Maine, 
My State of Maine,’ which has been 
adopted as the society song by State 
of Maine Societies in many states in 
the Union, is used by the granges in 
Maine as part of the service in confer- 
ring the subordinate degrees, has been 
sung by thousands of school children 
throughout the State and was sung dur- 
ing the Maine Centennial, 1920, in every 
city and town in which a celebration 
occurred; has set several of Longfel- 
low’s poems to music, including, “The 
Rainy Day,’ “My Lost Youth,” etc.; 
composed successful vocal arrangement 
and words for Italian Nat. Hymn, “Mar- 
cia Reale’; Pres. Portland Community 
Music Asso.; Director-General State 
Liberty Chorus of Maine; former mem. 
Nat. Community Music Assn.; mem. 
com. of dept. nat. community music of 
Nat. Alliance de Edn. Societe et Civique; 
conductor People’s Community Chorus, 
Portland, Me.; appointed State Musical 
Director and song leader during war pe- 
riod, during which he led thousands of 
people in singing in the principal cities 
in Maine and assisted in raising funds 
for war work and war relief; has acted 
as organist in several churches in Port- 
land; former member Ardon Coombs’ 
Orchestra (pianist), Haydn Association, 
Portland, and teacher of singing at State 
School for Boys; President, Geo. T. 
Edwards Real Estate Co.; Development 
of Suburban Real Estate, in the prog- 
ress of which he has built more than 
fifty dwelling houses and set out up- 
wards of 1000 shade trees, bordering 
fifteen miles of streets that he has laid 
out and given to the city of Portland 
and surrounding towns. Office, 547a 
Congress St., Portland, Me. Home ad- 
dress, Falmouth Foreside, Me. 
Eldridge, Emily, m.t., violinist; mem. Mac- 
Dowell Club, Portland Rossini Club, 
Haydn Trio and MacDowell Trio. Ad- 
dress, 110 Park Ave., Portland, Me. 


Eldridge, Helen A., violinist; b. Foxcroft, 
Me., Dec. 2, 1903; d. Ernest D. and 
Annie M. Eldridge; ed. Foxcroft Acad- 
emy; studied with Gray, Pullen, Hamil- 
ton, Habernicht, Fisher; mem. Cong. 
Church Choir and the Quintette Orches- 
tra, Foxcroft, Me.; mem. Juanita Eileen 
Guptill’s Trio and Jefferson Theatre Or- 


MUSIC AND MUSICIANS OF MAINE 


chestra, Portland. Address, 766 Con- 
gress St., Portland, Me. 


Eliason, Karin, pianist; accompanist Ells- 
worth Festival Chorus. Address, Ells- 
worth, Me. 


Ellingwood, Ella Parsons, music teacher; 
b. Cornville, Oct. 23, 1861; d. Samuel S. 
and Jane Russell Parsons; m. Dr. Louis 
N. Ellingwood, Sept. 21, 1887; ed. Har- 
mony High School; studied with J. C. 
Bartlett, J. W. Springall, T. P. Ryder, 
Julius C. Hartt and at Grand Conserva- 
tory, N. Y.; organist Harmony and 
Athens Churches; taught music from 
1877 to 1900; mem. Rebecca’s Grange. 
Address, Athens, Me. 


Elliott, Georgia, m.t. Address, Calais, Me. 
Ellis, Beryl, m.t. Address, Parkman, Me. 


Ellis, Mrs. Julian F. (Grace Collins), vo- 
calist (soprano); b. Richmond, Me., 
Oct. 19, 1884; d. Allen G. and Martha 
Dinsmore Collins; m. March 19, 1902; 
soloist Baptist Church, Auburn; mem. 
Philharmonic Club, Auburn and Lew- 
iston, 1922; mem. Women’s Literary 
Union, Musical Union and Portland 
Rossini Club. Address, 10 Harvard St., 
Auburn; Me. 


Emerson,’Alice Brett, pianist, accompan- 
ist; b. Auburn, Me., Jan. 27, 1896; d. Eu- 
gene P. and Louise Akerley Brett; m. 
William E. Emerson, Aug. 27, 1917; 
studied with Angie Starbird and Prof. 
Arthur Pettengill; mem. The Auburn 
Trio, Lewiston and Auburn Philhar- 
monic Club. Address, 157 Gamage Ave., 
Auburn, Me. 


Emery, Mrs. Sarah P., Dir. Eastern Maine 


ee Association. Addres: Bangor, 
e. 


Emmons, Carrie Ellsworth Hall, vocalist 
(alto); b. Kennebunk, Me., July 8, 1861; 
d. Woodbury Abbott and Cordelia 
Whitehouse Hall; m. Irving Tripp Em-. 
mons, Nov. 24, 1892; mem, Kennebunk 
Festival Chorus, O. E. S. and D. A. R. 
Address, 53 Main St., Kennebunk, Me. 


Emond, Marie R., m.t. Address, 32 Pool 
St., Biddeford, Me. 


Epps, Dr. Franklin Stevens, vocalist (ten- 
or), bandsman (alto horn); b. Waltham, 
Mass., Oct. 30, 1902; s. Charles B. and 
Alice Stevens Epps; studied with Mrs. 
Elmer E. Pierce; mem. Utopian Male 
Quartet, Auburn; Towle’s Orchestra, 
Spanish War Vets. Band of Cambridge, 
Mass.; mem. Am., N. E. and Maine Os- 


BIOGRAPHICAL SECTION—1927-1928 391 


teopathic Societies; grad. Mass. Coll. 
Osteopathy. Address, 34 Court St., Au- 
burn, Me. 


Eustis, Harry, vocalist (bass); mem. Port- 
land Men’s Singing Club; Harvard Male 
Quartet; choir dir. Church of Messiah. 
Address, 113 Franklin St., Portland, Me. 


Evans, Josepha Virginia, organist, vocalist 


(contralto); b. Wakefield, Mass.; d. 
Emory Felton and Josepha Restarrick 
Sweetser; ed. Wellesley College (B.A.) 
and graduate Missionary School, N. Y. 
City; m. Rev. Frank W. Wheeler, Dec., 
1902; 2d, Walter M. Evans, Nov., 1915; 
studied with M. E. Burlington; org. at 
various missionary meetings and at 
Italian Mission at Emmanuel Baptist 
Church, Bronx, N. Y.; org. and choir 
leader at Baptist Church, Millinocket, 
Me., at different times; Vice Pres. Milli- 
nocket Philharmonic Club; author, po- 
ems and stories for periodicals and for 
Wellesley Volume of Verse (subjects 
largely musical), public speaker on re- 
ligious and kindred subjects. Res., Box 
102, Millinocket, Me. 


Evans, Ora Liston, pianist and organist 
(retired); b. Dover, Me., May 22, 1893; 
s. Liston P. and Clara Getchell Evans; 
m, Lelia M. Gerry, July 12, 1917; ed. 
Foxcroft Academy and Bowdoin Col- 
lege; formerly organist Universalist 
Church and mem. Quintette Orchestra; 
mem. Mosaic Lodge, F. & A. M., Amer- 
ican Legion and Zeta Psi Fraternity. 
Vocation, publisher. Address, Dover- 
Foxcroft, Me. 


Fagan, John T., flutist; b. Portland, Me., 
Dec. 14, 1864; m. Ellen G. Moulton, Oct. 
20, 1897; studied with Frank L. Collins, 
Charles W. Grimmer, Hermann Kotzsch- 
mar, Frederick Schmidt; in early years 
travelled with concert company; for- 
mer mem. Chandler’s Band, Portland 
(horn), 1885 to 1892; mem. Me. State 
Fife, Drum and Bugle Corps (leader) 
from 1882 to 1886; org. and leader of 
Me. Centennial Fife, Drum and Bugle 
Corps; mem. Deane’s Orchestra, Port- 
land Flutists’ Society; formerly mem. 
Portland Music Commission (chairman, 
2 yrs.); arranger of band and orchestra 
music. Vocation, lawyer. Res., 12 Win- 
ter St., Portland, Me. O., 85 Exchange 
St . 

Fairbanks, Ressie Daggett, vocalist, choir 
director; b. Smyrna Mills, Me.; d. Alon- 
zo P. and Isabelle Marsh Daggett; m. 
Sumner A. Fairbanks, June 14, 1911; ed. 


nn SSS SSS 


Ricker Classical Institute; studied with 
Harriet Stewart, Mrs. J. Hollis Lindsay, 
Prof. David Soderquist; dir. of choir 
First Baptist Church, Houlton; mem. 
O. E. Star, Houlton Woman’s Club, 
Houlton Music Club; Past Pres. Houl- 
ton Music Club. Address, 30 School St., 
Houlton, Me. 


Farley, Mrs. Cyrus H., honorary mem. 
Portland Rossini Club. Address, 256 
Vaughan St., Portland, Me. 


Farley, Mrs. Henry G., vocalist (alto); 
mem. Portland Rossini Club, Women’s 
Choral Society, Portland Festival Cho- 
rus, 20 yrs. Address, 93 William St., 
Portland, Me. . 


Farnham, Frances, organist; studied with 
Grace B. Howes; org. So. Brewer 2nd 
Cong. Church. Address, So. Brewer, Me. 


Farnsworth, Edward Clarence, organist; 
b. Bangor, Me., May 27, 1853; s. Ben- 
jamin Brown and Caroline Babcock 
Farnsworth; m. Mary Best, 1893; m. 
Emma Russell, 1914; ed. Portland, Me.; 
studied with George R. Paine, Hermann 
Kotzschmar and harmony with J. K. 
Paine; formerly organist at St. Ste- 
phen’s, Second Parish, Swedenborgian, 
St. Lawrence and Pine St. Churches; 
organist for 47 yrs. for several bodies of 
Odd Fellows; form. member Kotzsch- 
mar Club; mem. Unity Lodge, I. O. 
O. F.; author, poems and essays, St. 
Helena and other poems, Euphrates and 
other poems, The Revelations of John 
and Explanation, Makers of Music, The 
Ideals and Tendencies of Modern Art, 
four volumes on Advanced Thought, 
Mementos and Sea Pictures. Res., 106 
Emery St., Portland. 


Farnum, Natalie Hardy, pianist; b. Man- 
chester, N. H., 1893; d. George H. and 
Florence A. Hardy; m. S. Merritt Far- 
num, 1918; ed. Fitchburg Normal 
School; studied with Kate L. Smith; 
Pres. Philharmonic Club and dir. 3 yrs.; 
Treas. Women’s Literary Union; Sec. 
Dir. and Past Pres. Women’s Hospital 
Asso.; Treas. Me. Federation of Music 
Clubs, 2 yrs.; Sec. Needlework Guild; 
instructor for 6 yrs. in Fitchburg Nor- 
mal School. Address, Hotel Atwood, 
Lewiston, Me. 


Farr, Mrs. Annie Mabel Thomes, vocal- 
ist; b. Portland, Me., Nov. 5, 1876; d. 
George Henry and Elizabeth Bond 
Thomes; m. Harvey C. Farr, Sept. 23, 
1903; studied with John Morgan, Wil- 
liam Dennett, William Whitney, Clara 


392 MUSIC AND MUSICIANS OF MAINE 


Tibbetts, Henrietta Rice, Llewellyn 
Cain; mem. St. Lawrence, Church of the 
Messiah, High St. Cong. (17 yrs.), Free 
St. Baptist, First Baptist Church 
Choirs; mem. Choral Art Society. Vo- 
cation, real estate. Address, 80 Wilson 
St., Portland, Me. 

Farr, John, vocalist (bass); mem. Portland 
Men’s Singing Club. Address, 85 Oak- 
dale St., Portland, Me. 


Farrar, Sidney D., soloist; b. So. Paris, 
Me., Aug. 10, 1859; Ss. Sidney and Maria 
Farrar, and father of Geraldine Farrar; 
m. Henrietta Barnes, Dec. 24, 1880; 
played in the Melrose Band and was 
first baseman on Philadelphia National 
League’s ball team several years; mu- 
sician in band of roth Maine Regiment; 
mem. Universalist and Episcopal Church 
Choirs, Melrose, Mass.; mem. Amphion 
Club, Melrose. Res., Melrose, Mass. 


Farrington, Cora Ramsdell, vocalist (mez- 
zo soprano); b. Chesterville, Me., Feb. 
2, 1860; d. James H. and Helen Lancas- 
ter Ramsdell; m. J. A. Farrington, Aug. 
30, 1888; ed. Livermore Falls and Chau- 
tauqua graduate; studied with Frances 
Dodwell, W. H. Stockbridge and W. H. 
Dennett; mem. Festival Chorus and 
Haydn Asso. Address, Rocky Brook 
Farm, Livermore Falls, Me. 


Farrington, Edith M., organist; studied 
with Grace B. Howes; org. Hammond 
St. Church, Bangor. Address, Bangor, 
Me. 

Farrington, Harold Edward, bandsman; 
b. Portland, Me., 1880; s. Fred R. and 
Harriet Chandler Farrington; m. Ber- 
tha May Bond, 10908; ed. Portland, Me.; 
studied with W. E. Chandler, i ess | 
Chandler and H. N. Shaw; mem. Port- 
land Band (clarinet and drums); mem. 
Wm. E. Chandler’s and Hybert’s Or- 
chestras (drums); mem. U. C. T., Ma- 
sons, Elks. Vocation, merchant. Ad- 
dress, 210 Coyle St., Portland, Me. 


Faught, Frank H., bass viol; mem. Deane’s 
Orchestral Club. Portland, Me. 


Faulkenham, Mary, music teacher; mem. 
Women’s Choral Society. Address, 
Peaks Island, Me. 


Favor, Edward P., pianist; b. Cambridge, 
Mass.; s. Zachary T. and Martha T. Fa- 
vor; m. Alice M. Oakes, Nov. 9, 1906; 
ed. Boston Conservatory of Music; 
studied piano with Chelius; harmony 
with Metcalf and Houard; composer of 
the operas “King Pepper,” “Tourist and 


the Maid,” and “The Star Teaching 
Series,” “In the Valley of Visions,” 
“City of Heavenly Light,” “Bereft,” 
“Solitaire,” “Sea O’ Dreams,” “L’Ad- 
miration Waltzes,” etc. Vocation, com- 
poser, arranger and piano tuner. Ad- 
dress, 41 So. Front St., Richmond, Me. — 


Fay, John E., teacher of piano and organ; 
b. Lynn, Mass., June 20, 1903; s. John L. 
and Catherine F. Fay; studied with 
Frank L. Rankin, Portland, Isador 
Phillip and Joseph Bonnet of Paris; or- 
ganist, St. Joseph’s Church, Portland; 
mem. Kotzschmar Club. Address, 451 
Deering Ave., Portland, Me. Studio, 
562 Congress St. 


Feeney, Charles E., vocalist; winner, 1927 
State Atwater Kent Radio Audition. Ad- 
dress, So. Portland, Me. 


Fellows, Henrietta A., vocal teacher; b. 
Portland, Me., May 18, 1857; d. Melville 
C. and Evelyn (Kimball) Milliken; m. 
Orra H. Fellows, Aug. 30, 1882; studied 
with W. H. Dennett, Portland, Me., and 
Trabadello, Paris; mem. choir First 
Parish Church, Portland, for 20 yrs. 
(soprano); mem. Haydn Assn., Festival 
Chorus and Rossini Club. Address, 33 
Kirkland St., Cambridge, Mass. 


Fenderson, Bertha King, vocalist (mezzo- 
contralto); b. Portland, Me., June 23, 
1886; d. Helo H. and Edith Pinkham 
King; m. Charles Kennard Fenderson, 
Sept. 25, 1912; ed. Portland, Me.; stud- 
ied with Jennie King Bragdon, William 
Whitney; mem. Williston Cong. Church 
Choir, Woodfords Cong. Church Choir, 
Portland, Me., Malden Cong. Church 
Choir and First Parish Cong. Church 
Choir, Saco, Me., Immanuel Baptist 
Church Choir, Portland, Malden Musi- 
cal Club, Musical Art Club of Boston, 
and Portland Rossini Club; soloist, re- 
citalist. Address, 146 Elm St., Saco, Me. 


Fenderson, Charles K., vocalist (bass); b. 
Saco, Me., Feb. 13, 1886; s. James H. 
and Ada Kennard Fenderson; studied 
with Lillian. Carllsmith; mem. First 
Parish Church Choir, Saco, Unitarian 
Church, Kennebunk, and Immanuel Bap- 
tist, Portland; mem. Kotzschmar Club, 
Men’s Singing Club, Portland Poly- 
phonic Society and Portland Club. Vo- 
cation, Manager York County Motor 
Corp. Address, 146 Elm St., Saco, Me. 


Fenderson, Leigh G., violinist; b. Auburn. 
Me., June 17, 1886; s. Frank J. and 
Georgia Anna Goss Fenderson; ed. pub- 


BIOGRAPHICAL SECTION—I1927-1928 393 


lic schools, Auburn, Me., and Salem, 
Mass.; studied with Frank Holding, 
Lewiston, and Arthur Luscombe and 
Carl Troutman, Boston; teacher of vio- 
lin for 20 yrs., has given many recitals. 
Address, 133 Lisbon St., Lewiston, Me. 


Fenderson, Sarah Wiswell, vocalist (so- 


‘prano); b. Machias, Me., Oct. 18, 1901; 
d. Hovey M. and Nettie M. Stevens Wis- 
well; ed. Univ. of Maine; studied with 
H. M. Wiswell and Grace Hutchinson; 
mem. Cong. Church Choir and Wiswell’s 
Saxophone Orchestra; mem. Alpha Omi- 
cron Phi. Address, Machias, Me. 


Fenton, Mrs. R. M., organist St. Paul’s 
Church, Portland. Address, 279 Con- 
gress St., Portland, Me. 


Fernald, Louise, school music supervisor. 
Address, Millinocket, Me. 


Ferrero, Willy, musical prodigy and or- 
chestra leader; b. 78 Elm St., Portland, 
Me., May 21, 1906; s. Victor and Jemimi 
(Martoli) Ferrero; was taken to Italy 
by his parents at age of 2; directed sev- 
eral symphonic pieces at the “Troca- 
dero” in Paris at age of 3 yrs., 8 mo.; 
the great composer Massenet was among 
those who assisted at this concert and 
moved to the point of shedding tears 
he kissed the tiny director and ex- 
claimed, “Go, you are a born artist. Of 
you, history will certainly speak”; at age 
of 4 led orchestra in the Follies Bergere 
in Paris; on Oct. 11, 1912 (age 6 yrs.), 
he directed his first symphonic concert 


in Rome at the “Teatro Costanzi’; on’ 


Feb. 1, 1913, he directed the Imperial 
Orchestra of 120 performers at St. Pe- 
tersburg at the invitation of His Majesty 
the Czar of Russia, Nicholas II, and was 
given the ensign of the Order of St. 
Stanislaus, a gold medallion and other 
valuable presents; in 1914 directed or- 
chestra at Albert Hall, London; was 
decorated by Queen Alexandria and was 
presented with a gold watch by her maj- 
esty; in I915 was presented with gold 
medal by the Italian Minister of Educa- 
tion after successful appearance in the 
Augusteum, where he conducted an or- 
chestra and chorus of 500; in 1913 was 
invited to the Vatican by Pope Pius X, 
and again in 1917 by Pope Benedict XV, 
and was presented by him with a large 
medallion; as a musical prodigy received 
enconiums from Leopoldo Mugnone, 
Mo. Comm.; Sgambati, director of the 
Royal Conservatory of S. Cecilia, Rome; 
Alberto Gasco, critic of the “Tribuna”; 


Prince Sergio Wolkonski, former direc- 
tor Imperial Theatre, St. Petersburg; 
Glasunof, director Conservatory of St. 
Petersburg; Prof. L. Auer; Prof. Nicola 
Solowieff; G. Tartascof, baritone of the 
Imperial Opera; A. Klessin, director of 
Imperial Orchestra; Prof. Sokolof of 
the Academy of Fine Arts, and many 
others; completed education at Musical 
Academy of Vienna; more recent ap- 
pearances as orchestra leader have been 
in many of the larger cities of Italy. 
Address, 9, Via-Bogino-Turin, Italy. 
Fessenden, Mabel Bates, soloist, concert 
artist; b. Fairfield, Me., Oct. 19, 1841; d. 
Asa B. and Azuba M. Bates; m. Otho W. 
Burnham, 1865; 2d, William H. Fessen- 
den, 1876; ed. Waterville Academy; 
studied with W. H. Dennett, Portland, 
Vannucini, Florence, Italy, Pinsuti and 
Mr. Deacon, London; mem. choir at 
First Univ., First Parish and State St. 
Churches, Portland, Me., and Church of 
Unity, Boston, Mass.; charter mem. 
Rossini Club, Portland; mem. Boylston 
Club, Boston; sang leading role in Mars- 
ton’s Opera “Don Bobo” presented in 
Portland, 1860; as Mabel Bates Burn- 
ham was one of the “Bouquet of Artists” 
at the Great Peace Jubilee, Boston, 1869. 
Res., 9 Getchell St., Waterville, Me. 


Fickett, Louis W., music dealer; b. Stroud- 
water, Jan. 2, 1878; s. Franklin and Ab- 
bie (Chaplin) Fickett; m. Harriet M. 
Berry, Oct. 17, 1910; employee of Cres- 
sey & Allen, 1892-1917; part owner, 
Maine Music Co., Rockland; Mason, 
Elks. Res., 40 Rankin St.; 0., 397 Main 
St., Rockland, Me. 


Field, Arthur A., teacher clarinet and sax- 
ophone; b. Bangor, Me., July 26, 1877; s. 
George A. and Ellen H. Field; m. Lucy 
C. Beck, Sept. 12, 1906; ed. Brewer, Me.; 
studied with Hemenway, Leavitt and 
Woods; mem. Bangor Band and Shrine 
Band (clarinet) and mem. Miller’s Or- 
chestra; mem. A. F. of M. Vocation, 
prescription optician. Address, 31 Lane 
St., Bangor, Me. 

Field, Frances G., m.t. Address, 14 Pearl 
St., So. Portland, Me. 

Fife, Fredericka L., m.t. Address, 70 Grove 
St., Augusta, Me. 

Fifield, Alice Gould, teacher of cello; b. 
Bangor, Me., Jan. 27, 1896; d. Frederick 
T. and Cecilia (Campbell) Fifield; ed. 
Bangor and Boston; studied cello with 
Keller of Boston; piano with Adelbert 
Wells Sprague; accompanist and mem. 


394 MUSIC AND 


MUSICIANS OF MAINE 


cece nn Se 


of Pullen’s Symphony Orchestra and 
Fifield Trio; mem. Bangor Symphony 
Orchestra. Summer home, Winchenden, 
Mass. Address, 186 Front St., Bangor, 
Me. 

Fifield, Marian Louise, teacher of violin; 
b. Danforth, Me., May 13, 1892; d. Fred- 
erick T. and Cecilia (Campbell) Fifield; 
studied music under Horace Mann Pul- 
len, Carl Reisland, Boston; mem. Fifield 
Trio and Bangor Symphony Orchestra. 
Address, So. Brewer, Me. 


Files, Harry S., vocalist (baritone); mem. 
Kotzschmar Club, Portland Men’s Sing- 
ing Club. Address, 419 Cumberland 
Ave., Portland, Me. 


Files, Mrs. Harry S., pianist; priv. mem. 
Portland Rossini Club. Address, 419 
Cumberland Ave., Portland, Me. 


Files, Katherine, school music supervisor. 
Address, Hallowell, Me. 


Files, Mrs. Louis M., mem. Women's 
Choral Society. Address, 34 Deane St., 
Portland, Me. 


Finnegan, Wilfred A., mem. Bd. Dir. 
Eastern Maine Musical Association. Ad- 
dress, Bangor, Me. 


Fish, Clarence A., cornettist, horn soloist; 
b. Warren, Me., June 17, 1885; S. Judson 
Cerand Francis L. Fish; ed. Camden 
High School, Hudson River Military 
Academy; studied with H. Schmitt, N. 
Y.; dir. and manager of Camden Con- 
cert Band and Oakland Park Concert 
Band; mem. Marston’s concert and 
dance orchestra; mem. I. O. O. F., Ma- 
sons; composer, “Just You and I,” 
“When October Comes,” “You Are the 
Girl of My Dreams.” Address, 42 Pearl 
St., Camden, Me. 


Fisher, Cecil, m.t. Address, Fort Fairfield, 
Me. 

Fisher, David Ellery, teacher of violin; b. 
Boston, Mass., Sept. 12, 1874; s. David 
L. and Nettie (Oxley) Fisher; ed..N. E. 
Conservatory of Music, 1895; m. Isa- 
belle Tilton, Jan. 3, 1900; teacher of vio- 
lin at Denver Univ., Col., 1895-96; 5 yrs. 
in orchestras; won gold medal at Den- 
ver, Col., 1896; taught violin, Portland. 
since 1902; instructor violin Westbrook 
Seminary; Mason (32d degree). Res., 
211 Falmouth St.; 0., 719 Trelawney 
Bldg., Portland, Me. 


Fisher, Mrs. Stanwood, vocalist; mem. 
Portland Rossini Club. Address, 326 
Spring St., Portland, Me. 


Flagg, Olive Gertrude, vocalist (mezzo- 


soprano); b. Portland, Me.; d. Lester 
and Lenora Sawyer Flagg; ed. Portland 
High School and Kent’s Hill Seminary; 
studied voice with Elizabeth Brown; 
sec. Kent’s Hill Alumni Asso.; mem. 
Marston Club; soloist for 18 yrs. at New 
Jerusalem Swedenborgian Church; teach- 
er of piano with Gertrude Buxton; grade 
teacher, public schools; in charge Cham- 
ber of Commerce Information Bureau. 
Address, 633 Congress St., Portland, Me. 


Flanders, Ruth Augusta, music teacher, 
vocalist, pianist, violinist; b. Hampden, 
Me., Nov. 13, 1903; d. Herbert Allen 
and Gertrude Newcombe Flanders; ed. 
Bates College, Lasell Seminary; studied 
with David E. Fisher, Frank E. Burn- 
ham, Ethel Fullerton and American In- 
stitute of Normal Methods; mem. choir 
Cong. Church, Norway, Me.; violinist 
Univ. Church, Westbrook; mem. Port- 
land Rossini Orchestra, McFarlane Club; 
appeared as soloist and in trio work; 
one season at Oak Grove Hotel, Booth- 
bay Harbor. Vocation, supervisor of 
music, mem. faculty, High School, Nor- 
way, Me. Address, 25 Ellsworth St., 
Portland, Me. Mail address, 81 Main 
St., Norway, Me. 


Flannigan, Anna F., org. St. Mary’s Catho- 
lic Chureh. Address, Bangor, Me. 
Fletcher, Edward, m.t. Address, Belfast, 


Me. 

Flinton, P. C., vocalist (tenor); mem. 
choir Penney Memorial United Baptist 
Church. Address, Augusta, Me. 


Flood, Alice Ada, vocal teacher; b. Salem, 
Mass., Aug. 19, 1888; d. James and Hat- 
tie (Yeaton) Flood; ed. Inst. of Mus. 
Art, N. Y.; studied with Mme. Ternina, 
Lilly Lang Collins and Prof. Klamroth; 
toured the U. S. and Canada; formerly 
teacher in N. Y. City; since 1916 in Lew- 
iston; mem. Literary Union, Philhar- 
monic Society. Res., 24 Webster St.; o.. 
138 Lisbon St., Lewiston, Me. 


Flood, James P., drummer, banjoist, clari- 
nettist; b. Ireland: ed. Dublin; became 
bugler and then drum major ‘with the 
British Fusiliers in England at age of 
fourteen; came to America and settled 
in Lewiston; played in Johnson’s Band, 
Glover’s Band and Chandler’s Band; 
joined the 8th Me. Volunteer Band of 
Salem during the Civil War; was tym- 
pani player with the Chicaso Symphony 
Orchestra 15 years; toured as drummer 
with Henry W. Savage for the ‘Prince 
of Pilsen” and the “Merry Widow”; 


eS Oe ee as 


BIOGRAPHICAL SECTION—1927-1928 395 


drummed in every state in the union; 
has made fourteen trips from coast to 
coast; mem. of the Cowboy Band of 
Colorado. which toured the Western 
States. Address, Lewiston, Me. 


Flye, Mrs. J. R., Librarian Rockland Fes- 
tival Chorus. Address, Rockland, Me. 


Fobes, Mrs. Ruth Carter, vocalist; mem. 
Women’s Choral Society. Address, 42 

porcustiman ot.,. Portland, Me. 

Fogg, Evelyn (see Evelyn Fogg Orcutt). 

Foley, Dcerothy, vocalist; Treas. Women’s 
Choral Society. Address, 213 Walton 
St., Portland, Me. 

Ford, Frank, cornettist; mem. Deane’s Or- 
chestral Club. Address, 166 Walton St., 
Portland, Me. 

Forsaith, Isabel S., teacher of piano; b. 
Winterport, Me.; d. Edwin B. and Mar- 
ion B. Forsaith; studied with Mrs. 
Campbell and Mary E. O’Brion; former 
mem. Mozart Club. Address, 106 Maine 
St., Brunswick, Me. 

Fortier, Germaine, m.t. 
ford. Me. 

Foss, Donald M., vocalist (tenor); mem. 
Portland Men’s Singing Club. Address 
54 Glenwood Ave., Portland, Me. 


Foss, Esther A., org. First Baptist Church, 
Portland. Address, Portland, Me. 


Foss, Marian G., vocalist (soprano); Db. 
Fort Fairfield, Me., March 24, 1900; d. 
Austin M. and Matie F. Foss; ed. Kent’s 
Hill Seminary; studied voice with Prof. 
Torrens, Ellen Peterson; piano with K. 
A. Ringwall and C. W. Richmond; mem. 
choir Grace Methodist Church, Bangor, 
Bach Choir and Schumann Club, Festival 
Chorus and Ladies Choral. Vocation, 
bookkeeper for Andrews Music House. 
Res., Hampden, Me. 

Foster, Barbara Lancey, pianist, accom- 
panist; b. Pittsheld, Me.; d. Thomas 
Greene and Delia Farnham Lancey; m. 
Charles Fleet Foster, Oct. 25, 1925; ed. 
N. E. Conservatory; studied with F. 
Addison Porter; org., Univ. Church, 
Pittsfield, Me.; mem. Bethlehem Chapt., 
Opis er ittsheld; Address, 11 River 
St., Dover-Foxcroft, Me. 

Foster, Charles Sherwood, bandsman; b. 
Kingfield, Me., Feb. 5, 1907; s. Sher- 
brook Charles and Birdena May Foster; 
studied with Thomas P. Holt and G. 
Dana Holt; mem. Cong. Church Choir, 
Dixfield, Baptist Church, Belfast; mem. 
Dixfield Band. Address, Belmont Ave., 
Belfast, Me. 


Address, Rum- 


Foster, Jane F.,! school music supervisor. 
Address, Dover-Foxcroft, Me. 

Foster, Mabel W., pianist. Address, West- 
brook, Me. 

Fowler, Mrs. E. Beryl, m.t. Address, Fort 
Fairfield, Me. 

Fowler, Ida, school music supervisor. 
Address, Boothbay Harbor, Me. 


Fox, Carrie Browne, music teacher; b. 
Portland, Me.; d. Lewis P. and Harriett 
E. Browne; m. Daniel Fox, Jan., 1877; 
ed. in Ohio and Westbrook Sem.; stud- 
ied with Hermann Kotzschmar and at 
Chicago Musical College. Address, 18 
Casco St., Portland, Me. 


Francis, Irma May, violinist; b. Auburn, 
Me., Aug. 8, 1907; d. Chester L. and 
Irma Leighton Francis; grad. Edward 
Little High School, Maine School of 
Commerce, Auburn; studied with Leigh 
G. Fenderson, Lewiston, Serge Korgueff 
of Boston. Conservatory of Music, and 
Karl Rissland of Boston Symphony Or- 
chestra; mem. Lewiston-Auburn Sym- 
phony Orchestra, Music Dept. B. & P. 
W. Club and Philharmonic Club of 
Lewiston and Auburn; Concertmeister, 
Edward Little High School Orchestra; 
violinist of the Alpha Trio, organized 
Jan., 1926. Vocation, violinist. Address, 
8 Gammon Ave., Auburn, Me. 


Francis, Pearce J., vocalist (baritone); 
mem. Kotzschmar Club, Portland Men’s 
Singing Club, Cong. Sq. Univ. Church 
Quartette. Address, 35 Warren Ave., 
Cape Elizabeth, Me. 


Frank, E. Clayton, organist Second Parish 

rr Address, 9 Mayo St., Portland, 
e. 

Frank, Mrs. Henry P., instrumentalist 
(horn); priv. mem. Portland Rossini 
Club. Address, Yarmouth, Me. 

Freeman, Ida May (Strout), vocalist (con- 
tralto); b. Cape Elizabeth, Me., March 
2, 1868; d. Miles Sewall and May Helen 
Tinkham Strout; m. Frederick W. Free- 
man, Aug. 27, 1890; ed. Thornton Acad., 
Saco, and Univ. Exten.; studied with 
private tutors in Bible, art, literature 
and French; studied organ and piano 
with -Prof..R. H. Phippen and Prof. 
Howard W. Knight; voice with Prof. 
Shannon and Prof. Butler, Saco, Prof. 
C. J. Marshall, Bangor, Prof. O. Stew- 
art Taylor, Portland, and Prof. A. R. 
Frank, Boston; org. and first pres. Mo- 
zart Club, So. Berwick; held offices in 
Mizpah Chapt., O. E. S., Westbrook; 
formerly mus. dir. Saco Grange and 


396 


MUSIC AND MUSICIANS OF MAINE 


Gene ntpeseen tS  C S  T 


York Co. Pomona; Pres. Current Events 
Club, Westbrook; org. and dir. Current 
Events Dept. of Berwick Woman’s 
Club; Pres. Berwick Woman’s Club of 
So. Berwick; teacher of classes in art 
interpretation in St. Albans, Vt.; First 
V. P. and dir. Fortnightly Club, Bath, 
Me.; mem. Westbrook Choral Chautau- 
qua Chorus, Me. Music Festival, Men- 
delssohn Club, Bath, Mozart Club, So. 
Berwick; taught voice and dir. choruses 
in So. Berwick and Lubec, Me. Address, 
28 York St., Bath, Me. 


Freeman, Marion Johnson, vocalist, so- 
prano; b. Portland, Me., 1884; d. Isaac 
H. and Nellie Harmon Johnson; m. 
Harry M. Freeman, 1914; studied voice 
with Rupert Neily; piano and pipe or- 
gan with Willard Kimball and Dr. La- 
tham True; formerly taught singing at 
Windham High School; former mem. 
quartette at Clark Memorial M. | 
Church, Woodfords, and org. Univ. 
Church, Clark Memorial, Portland, and 
Univ., Westbrook; mem. Me. Festival 
Chorus, Women’s Choral Society and 
Clark Memorial Church, Portland. Ad- 
dress, 511 Stevens Ave., Portland, Me. 


Freese, A. Langdon, mem. Bd. Dir. East- 
ern Maine Musical Association. Address, 
Bangor, Me. 

French, Clarence M., vocalist, mem. Port- 
land Men’s Singing Club. Address, 25 
Adelaide St., Portland, Me. 


French, Mrs. Henry P., first Vice Pres. 
Me. Federation of Music Clubs. Ad- 
dress, Yarmouth, Me. 


French, Leita Esther,: school music super- 
visor; b. Brewer, Me., Jan. 12, 1905; d. 
Daniel G. and Grace E. French; ed. 
Univ. of Maine, B.A. degree; studied 
with Adelbert W. Sprague, Mrs. Grace 
Howes and at Inst. of Music Pedagogy, 
Northampton, Mass.; org. First Meth. 
Church, Bangor, and Baptist Church, 
Brewer; mem. U. of M. Orchestra; re- 
cital work. Vocation, music supervisor. 
Address, 6 Highland Ave., Milo, Me. 


French, Mrs. Virginia Miller, honorary 
member Philharmonic Club, Auburn- 
Lewiston. Address, Lewiston, Me. 


Friedman, Harold, violinist, vocalist: b. 
Randolph, Me., Aug. 18, 1909; s. Oscar 
and Ida Friedman; studied with David 
Fisher; mem. Augusta Symphony Or- 
chestra; former Sec. Cecilia Club. Vo- 
cation, salesman. Address, 6 Spruce St., 
Augusta, Me. Mail address, 47 Cony St. 


Friend, Mrs. Lilla, pianist; accompanist 
Skowhegan Festival Chorus. Address, 
Skowhegan, Me. 

Frohock, Mrs. Jeanette Mary, teacher of 
piano, Boston, Mass., and Hallowell, 
Me.; b. Rockland, Me., July 7, 1882; d. 
Elbridge G. and Nettie S. Stoddard; m. 
Rodney C. Frohock, Sept. 9, 1906; stud- 
ied with J. A. Jeffery and at N. E. Con- 
servatory. Address, 16 Academy St., 
Hallowell, Me. 


Frohock, Louise, school music supervisor. 
Address, Sanford, Me. 


Frost, Doris, m.t. Address, Bethel, Me. 


Frost, Evelyn Maude Brooks, vocalist (so- 
prano); b. Pembroke, Me., Sept. 23, 
1899; d. Capt. Alfred W. and Carrie 
Marshall Frost; ed. Deering High 
School, Portland, Mt. Ida School, New- 
ton, Mass., and Whitney Studios, Bos- 
ton; studied with Jennie K. Bragdon and 
Vincent Hubbard; mem. Second Parish 
and Trinity Episcopal Church Choirs; 
mem. Rossini Club. Address, 167 Con- 
cord St., Portland, Me. 

Frost, Mrs. Katie M., m.t. Address, Pitts- 
field, Me. 

Frost, Nettie Bird, vocalist (alto); b. 
Rockland, Me.; d. A. Judson and Dora 
Jameson Bird; m. Clark Bradley Frost; 
ed. Dana Hall; studied with Miss War- 
ren, Mrs. Copping, Mrs. French and Mr. 
Pendleton; organizer of Harmony Club 
of Rockland, Me., and Pres. for several 
years. Address, Lisbon, N. H. 


Frost, Simeon A., music teacher, bands- 
man, composer; b. Fall River, Mass.; s. 
Capt. Simon N. and Margaret Harring- 
ton Frost; studied with Prof. Richard 
Spain, F. L. Collins; studied counter- 
point, arrangement and composition 
with Louis C. Elson; composer, “Ave 
Maria,” “O Salutaris,” “Christ is Risen,” 
“Stand by the Flag,” “Just Dreams,” 
“Serenade,” “Progress”; instructor St. 
Andrews Band, St. Andrews, N. B., 
Eastport Cornet Band, Lord’s Cove 
Band,:Dear Island, N. B., Red Men’s 
Band, Lubec, Me., K. of P. Band, Grand 
Manan, N. B., Winter Harbor Band. 
Bar Harbor Band, New Haven Band, 
New Haven, Conn.; Eastport Band 
Asso., Philadelphia Band, Phila., Pa., 
Georgetown Concert Band, Georgetown, 
S. C., Eastport Boys’ Band, Eastport, 
Me. Address, cor. Washington and 
Brighton Sts., Eastport, Me. 

Fuller, Alice L., m.t. Address, 25 Linden 
St., Rockland, Me. 


BIOGRAPHICAL SECTION—1927-1928 397 


aa a Ua a TY 


Fuller, Frank Richard, bandsman (clari- 
net, saxophone); b. Lincoln, Me., June 
17, 1884; s. Edward T. and Mary R. Ful- 
ler; studied at Boston Conservatory. 
Vocation, musician and photographer. 
Address, Lincoln, Me. 

Fullerton, Mrs. Charles D., vocalist; mem. 
Women’s Choral Society. Address, Con- 
gress Sq. Hotel, Portland, Me. 


Furber, Mrs. Bertha S., org. United Bap- 
tist Church. Address, Saco, Me. 


Furlong, Harold Clifton, vocalist (bass); 
b. Portland, Me., Oct. 31, 1881; s. Charles 
Henry and Laura Stacey Furlong; m. 
Florence Mildred Heald, Nov. 30, 1907; 
ed. Portland, Me.; studied with L. B. 
Cain and R. L. Olmsted; Sec. Kotzsch- 
mar Club, 1921-22; mem. Portland Men’s 
Singing Club; mem. Boys’ Choir, St. 
Luke’s, 9 yrs., bass soloist, St. Paul’s, 2 
yrs., Trinity, 1 yr., Woodfords Congre- 
gational Church Quartette, 44 yrs.; St. 
Stephen’s Church Quartette, 4 yrs., First 
Baptist Church Quartette, 5 yrs., Willis- 
ton Church Quartette, 5 yrs., Free St. 
Baptist Church, 7 yrs.; mem. Knicker- 
bocker Male Quartette; bass soloist and 
concert work and many operas pro- 
duced in Portland during period of 20 
yrs.; conductor Gorham Men’s Singing 
Club, 1920-21. Vocation, wholesale gro- 
cer, 252 Commercial St. Res., 690 Wash- 
ington Ave., Portland, Me. 


Gaffney, Mrs. Stephen J. (Edna G.), vo- 
calist, organist; mem. Marston Club, 
Women’s Choral Society; organist, St. 
Patrick’s Church. Address, 131 Caleb 
St., Portland, Me. 

Gage, Walter R., composer; b. Skowhe- 
gan, Me.; s. John W. and Carrie Rob- 
bins Gage; ed. Skowhegan and Port- 
land; studied under Prof. L. P. Mayo, 
Waterville, Me.; began composing at 
age of 12 yrs.; composer of 80 pieces, 
vocal and instrumental; compositions, 
“Impromptu for Left Hand,” “Softly 
the Bells are Tolling,” “Skowhegan In- 
Mane aliz. Sone, ' ‘etc.; author _ of 
“Gage’s Piano Album,” pub. by Swisher, 
Phila. Vocation, piano dealer, teacher 
of music, real estate and hotel proper- 
ties. Res., 1520 N. Hayworth Ave., 
Hollywood, California. 

Ganner, F. E., music teacher (cornet). Ad- 
dress, Lincoln, Me. 

Gannett, Mrs. Guy P., vocalist; mem. 
Women’s Choral Society; first Vice Pres. 
Me. Federation of Music Clubs. Address, 
Shore Road, Cape Elizabeth, Me. 


Garcelon, Helen Stowell, cellist, pianist; b. 
Chicago, Ill., April 3, 1880; d. Frederic 
B. and Nellie J. Stowell; m. Albert B. 
Garcelon, May 6, 1906; ed. Chicago; 
studied cello with Adelbert W. Sprague 
and piano with Prof. Goldbeck, Chica- 
go; mem. Bangor Symphony Orchestra, 
Schumann Club (Sec.), Bangor, Euter- 
pean Club, So. Paris, Me.; chairman of 
music Bangor Federated Wo1nen’s 
Clubs. Address, 122 Ohio St., North 
Lovell, Me. 


Garland, Abbie Nickerson, m1.ti3- be Ban- 
gor, Me., Nov. 20, 1852; d. Francis J. 
and Maria Goodale Garland; ed. Bangor, 
Me.; studied with Stephen A. Emery 
(harmony), piano with Mrs. W. A. Sher- 
wood, Boston, Mrs. A. M. Virgil, New 
York; dir. Bangor Piano School; com- 
poser, teaching pieces for children, 
“Melodies for Little Folks,” Collection, 
‘Harp Melody,” “Lullaby,” “Auto Ride”; 
church organist 25 yrs. Address, we 
Grove St., Bangor, Me. 


Garton, Cedric H., composer, publisher; 
b. Falmouth, Me., Sept. 4, 1800; s. Wil- 
liam H. and Jessie S. Garton; m. Ida 
Roach, 1919; grad. Portland High School; 
composer, “My Belgian Rose,” “My Lit- 
tle Rambling Rose,” “Gypsy Wanda”; 
mem. Ancient Landmark Lodge, F 
M., No. 17, Portland, Me. Vocation, pro- 
prietor Garton Music Co., too Hanover 
St., Boston, Mass. Address, 81 Bromfield 
St., Wollaston, Mass. 


Gatchell, John Campbell, cello soloist; b. 
Brunswick, Me., March 20, 1909; s. John 
and Syretha Hallett Gatchell; studied 
with Mr. and Mrs. C. A. Warren and 
Elizabeth Dolan; mem. Baptist Church 
Orchestra; org. Friends M. H., South 
Durham; former mem. Brunswick Or- 
chestral and Choral Society; student 
Bowdoin College. Address, R. F. D. 
No. 3, Box 48, Brunswick, Me. — 

Gaudette, Anna, m.t. Address, 116 Wal- 
nut St., Lewiston, Me. 

Gay, Gilbert Edward, Vice Pres. New- 
castle-Damariscotta Festival Chorus, Ad- 
dress, Damariscotta, Me. 

Geer, Dr. George I., first violinist, Deane’s 
Orchestral Club. Address, 499 Stevens 
Ave., Portland, Me. 

Geoffrion, Mrs. L. P., m.t. Address, Skow- 
hegan, Me. 

Gerrish, Lester N., vocalist; mem. Port- 


land Men’s Singing Club. Address, Port- 
land, Me. 


398 MUSIC AND MUSICIANS OF MAINE 


Gerrish, Stanley S., vocalist (tenor) ; mem. 
Portland Men’s Singing Club and Port- 
land Polyphonic Society. Address, 592 
Washington Ave., Portland, Me. 


Getchell, Mark, choir dir. Auburn United 
Baptist Church. Address, Auburn, Me. 


Getineau. D. D., teacher of violin. Ad- 
dress, Rumford, Me. 


Giboin, Bertha M., m.t., organist and choir 
director St. Louis Catholic Church. Ad- 
dress, 47 Thomas St., Portland, Me. 


Giboin, George G., teacher piano and or- 
gan; b. Island Pond, Vt., Feb. 10, 1890; 
s. W. H. and Ernestine Giboin; m. Eliz- 
abeth Giguere, Oct. 25, 1920; studied 
with Alfred Brinkler and Prof. Howard 
Clarke of Portland; organist at St. 
Andre’s Church, Biddeford, for 8 yrs., 
and became organist at St. Peter and 
Paul’s Church, Lewiston, in 1925; com- 
poser, marches, preludes and sacred mu- 
sic. Address, 76 Howard St., Lewiston, 
Me. 

Gibson, Arthur W., violinist, clarinettist; 
b. Bridgton, Me., April 23, 1859; s. 
Tobias and Silvia Gibson; m. Hattie 
Buell, 1890; 45 yrs. performer and in- 
structor of bands and orchestras; mem. 
Old Bridgton Band, 1876; mem. Cadet 
Band; first musician employed by B. F. 
Keith in Boston; played 8 summers at 
Bar Harbor; served as musician in 
World War. Vocation, music dealer and 
teacher. Address, Pittsfield, Me. 


Gibson, Edwin L., cornet; mem. Deane’s 
Orchestral Club. Address, 9 Brattle St., 
Portland, Me. 


Gibscn, George, educator and concert pi- 
anist; member faculty New England Con- 
servatory of Music, Boston. Address, N. 
E. Conservatory of Music, Boston, Mass. 


Gifford, Henry M., teacher violin; b. Old 
Town, Me., April 22, 1864; s. Joseph and 
Mary E. Nedom Gifford; m. Alberta 
Currier, Sept. 16, 1889; ed. Lewiston, 
Me.; studied violin with D. M. Teague, 
Geo. L. Cushing, Lewiston, Frank Burn- 
ham, Portland, and Jaques Hoffman of 
the Boston Symphony Orchestra; life 
mem. Lewiston, Lodge of Elks; mem. 
Musicians Union, Portland, Me.; con- 
ductor Lewiston Brigade Band from 
1904 to 1910; leader of Music Hall Or- 
chestra from 1896 to 1903; leader, New 
Empire Theatre Orchestra, 1903 to 
1910; played in Montcalm Band, the Old 
City Band, Lewiston; Glover’s Band of 
Auburn; mem. Lewiston Brigade Band, 


1887 to 1910; mem. Chandler’s Band, Ca- 
det Band and Portland Band, several 
theatre orchestras, in Portland; mem. 
Maine Festival Orchestra (first violin) 
5 yrs.; formerly conductor Deane’s Or- 
chestral Club; assistant in musical in- 
struction in Portland Public Schools 
since 1927. Res. 268 Concord St., Port- 
land, Me. 


Gifford, Hilda, org. St. Michael’s Episco- 
pal Church. Address, Auburn, Me. 


Giguere, Emile, music teacher. Address, 
103 Shawmut St., Lewiston, Me. 


Gilbert, Fred A., mem. Bd. Dir. Eastern 
Maine Musical Association. Address, Ban- 
gor, Me. 

Gilbert, Gordon, instrumentalist (piano, 
clarinet); b. Manchester, N. H., July 11, 
1905; s. Charles E. and Elizabeth Gil- 
bert; ed. Bates College; studied piano 
with Mae Libby, Newport, Vt., and clar- 
inet with Arthur Schonland, Manchester, 
N. H.; mem. Lewiston-Auburn Sym- 
phony Orchestra, Bates College Orches- 
tra, t72nd Field Artillery Band, Man- 
chester, N. H., Lewiston Brigade Band, 
Y. M. C. A. and Bates Outing Club; 
student at Bates College (1929). Ad- 
dress, 15 Arch Ave., Lewiston, Me. 


Gilbert, Joseph Jean, concert flutist; obli- 
gatist; b. Lewiston, Me., Oct. 24, 1885; 
s. Jean and Victoria Nadeau Gilbert; m. 
Josephine M. Ashe, Sept. 7, 1909; ed. 
Brockton, Mass.; studied with George 
Chadwick. Maquerro, Barrere; mem Los 
Angeles Philharmonic Orchestra (flute 
and piccolo); mem. A. F. and A. M. 
Boston Manuscript Society, Los Angeles 
Woodwind Asso., honorary mem. L. A. 
Flute Club, American Federation of Mu- 
sicians; contributor to the Dominant 
Magazine, N. Y.; composer, “Song to 
the Night,” “A Modern Romance” (vio- 
lin and piano), symphonic poem “Ber- 
muda,” flute quartette and many songs; 
author numerous articles on the flute; 
solo flutist Maine Festival, 2 yrs.; for- 
merly mem. St. Louis, Los Angeles and 
Philadelphia Symphony Orchestras; ob- 
ligatist with Mmes. Melba, Scotney, 
Rhadeska, Panosian, Myrna Sharlow 
and others. Vocation, teacher of com- 
position and conductor. Address, 1933 
West gist St., Los Angeles, California. 


Gilberte, Hallett, composer; b. Winthrop, 
Me., March 14, 1872; studied piano with 
’ his mother, then with Hermann Kotzsch- 
mar, Portland, John Orth. Carl Baer- 
mann, Boston; voice, with Signor Rotolo, 


ss oe 


BIOGRAPHICAL SECTION—1927-1928 399 


Charles R. Adams, Caroline Gardner 
Clarke, Mme. Grace Van Dusen; com- 
position with Ethelbert Nevin; studied 
piano in New York with Joseffy and 
voice with Mme. Luisa Cappiani; ap- 
peared at World’s Fair as pianist on 
Maine Day; concert tenor; toured 
country featuring his own songs in reci- 
tal; composer of 250 songs, more than 
60 of which are published; has written 
compositions for piano, violin and a 
number of choral pieces for mixed, men’s 
and women’s voices. Summer home, 
“Melody Manse,” Lincolnville Beach, 
Me. Address, Oak Knoll, Pasadena, 
Calit. 


Giles, Erva Lucille, vocalist, soloist; b. 


Ellsworth, Me., Dec. 29, 1893; d. Lyn- 
wood F. and Harriet K. Giles; ed. Bos- 
ton and New York; studied with Prof. 
Buonamici and Prof. Robert Hosea; org. 
Unitarian Church; mem. Ellsworth Fes- 
tival Chorus; known in broadcasting as 
the “Heroine of the Royal Typewriter 
ElOut a0r 4 yrs, from WJZ station; 
Vice Pres. of E. Morris Music Pub. Co. 
Address, 10 W. 58th St., New York 
City. 

Giles, Harriet K., Vice Pres. Ellsworth 
Festival Chorus. Address, Ellsworth, Me. 


Gilmartin, John Reed, instrumentalist 
(violin, viola, saxophone); b. Meriden, 
Conn., Sept. 14, 1880; s. Michael W. and 
Catherine T. Reed Gilmartin; m. Mae 
E. Esttinger, Sept. 20, 1909; ed. New 
Bedford, Mass.; studied with Prof. 
George Hill, William Needham, Elmer 
Tolman, New Bedford, David E. Fisher, 
Frank Burnham and Frank J. Rigby, 
Portland, Me.; mem. B. P. O. Elks, 
Knights of Columbus, Pleasantdale 
Grange, Portland Club, Portland Ath- 
letic Club, Portland Orchestral Society. 
Vocation, City Treasurer, Portland, 
Me.; Treas. Portland Bridge Dist.; 
Treas. Portland State Pier Site District; 
Custodian Funds of Evergreen Ceme- 
tery. Address, 31 Bramhall St., Port- 
land, Me. 

Gilpatrick, Ruth Gould, vocalist, instru- 
mentalist; b. Jonesboro, Me., Aug. 14, 
1891; d. Frank S. and Abbie Jane Gould: 
m. Victor Gilpatrick, May 7, 1913; ed. 
Coburn Classical Institute; studied piano 
with Mrs. Helen Lamson Elwell; voice, 
Jennie King Bragdon; mem. choir, All 
Soul’s Church, Portland, and Unitarian 
Church, Houlton; mem. Portland Ros- 
sini Club, Houlton Music Club. Ad- 
dress, 7 Charles St., Houlton, Me. 


Girouard, Marguerite Burke, teacher, vio- 
lin, piano; b. Lewiston, Me.; d. Dr. J. 
Ameder and Annie Burke Girouard; ed. 
Bates College and N. E. Conservatory; 
studied with Franklin Holding, David 
Fisher, Portland, Adamowski and Vic- 
tor Schmidt, N. Y.; mem. Schubert Trio, 
Rossini Club, Marston Club, Portland, 
Philharmonic Club, and School Board, 
Lewiston. Address, 91 Pine St., Lewis- 
ton, Me. 


Gledhill, Mrs. Warren, Pres. Lewiston- 
Auburn Festival Chorus. Address, 169 
College St., Lewiston, Me. 

Gogorza, Emilio, vocalist (baritone); con- 
cert artist; b. Brooklyn, N. Y.; received 
early education in France and England; 
studied with Madame Giulia Sanchioli, of 
Pau, Southern France, Moderati and 
Agramonte in New York and M. Elmir 
Bourgeois, Paris; m. Emma Eames. Ad- 
dress, care of Curtis Institute of Music, 
Philadelphia, Penna. 


Goldburg, Harry L., musician; b. Gardi- 
ner, Me., June 6, 1896; s. Frank P. and 
Sophie (Laurie) Goldburg; m. Sarah 
Snyder, March 10, 1918; U. S. Gov. Q. 
M. C., 1916-17; musician, 1917-18; Ins. 
Bus., Asst. Supt., 1918; Vice Pres. B’nai 
B’rith. Res., 23 Maple St.; 0., 173 Main 
St., Waterville, Me. 

Goodhue, Albion Paris, vocalist (bari- 
tone); b. Sidney, Me., July 25, 1873: s. 
Charles R. and Amelia M. Cowan Good- 
hue; m. S. Eleanor Brockbank, June 18, 
1903; ed. Sidney and Oakland, Me.; 
studied with L. B. Cain; former mem. 
Cong., Methodist and Unitarian Church 
Choirs, Belfast Musical Society and Bel- 
fast Philharmonic Assn. Vocation, 
plumbing and heating contractor. Ad- 
dress, 43 Court St., Belfast, Me. 


Goodridge, Mrs. Anna French, whistling 
soloist; b. Houlton, Me., Dec. 12, 1884; 
d. Fred B. and Sadie Ferguson French; 
m. Oren Leslie Goodridge, Feb. 2, ro10; 
ed. Ricker Classical Institute: studied 
with Estelle Newhouse, Ella Chamber- 
lain (Boston), and Mrs. Hollis Lindsay; 
mem. Houlton Music Club and ex-Pres. 
of same. Vocation, dancing teacher. 
Address, 32 Pleasant St., Houlton, Me. 


Goodnow, Frances M., vocalist (alto), or- 
ganist; b. Milwaukee, Wis.; m. Charles 
W. Goodnow, Aug. 10, 1880; ed. Fram- 
ingham, Mass.; studied voice with L. B. 
Cain and organ with Alfred Brinkler; 
mem. choir Cong. Church; org. and mem, 
orchestra Cong. Church; Vice Pres, Mu- 


400 


sic Club of Maine; Pres. and Dir. of 
Kennebunk Festival Chorus (mem. 26 
yrs.). Address, 34 Summer St., Kenne- 
bunk, Me. 

Goodwin, H. E., vocalist (bass); mem. 
choir Penney Memorial United Baptist 
Church. Address, Augusta, M2. 


Googins, Mary B., m.t. Address, Bar Har- 
bor, Me. 

Gordon, Lincoln, organist for 45 yrs. at 
the Saco Ferry Church. Address, Saco, 
Me. 

Gordon, Mrs. Mabel, Sec. Livermore Falls 
Festival Chorus. Address, Livermore 
Falls, Me. 

Gordon, Robert S., Pres. Mendelssohn 
Club of Bath and Bath Festival Chorus. 
Address, Bath, Me. 

Gore, Mrs. Angie T., soloist (soprano); b. 
Yarmouth, Me.; d. Warren and Gene 
Jordan; m. F. E. Gore, Nov. 10, 1892; 
ed. Yarmouth Schools; studied with W. 
H. Dennett, Mrs. E. Wilson and Jennie 
King Bragdon; mem. choir Central Uni- 
tarian Church, Yarmouth, Yarmouth 
Fortnightly Club. Address, South St., 
Yarmouth, Me. 

Goss, Mrs. Cecilia C., organist, United 
Baptist Church, Lewiston, Me. 


Goss, Edwin Lincoln, musical director, 
vocalist (baritone); b. Lewiston, Me., 
Oct. 22, 1862; s. John and Mary (Litch- 
field) Goss; m. Marion H. Wing, July 
7, 1886; 2nd Cecilia Christensen, Sept. 
15,1921;studied with Hermann Kotzsch- 
mar and Will Stockbridge; mem. Lew- 
iston-Auburn Festival Chorus for 30 
yrs. and its conductor 1913-1919; Board 
of Directors, 1909-10 and 1924; Vice 
Pres., 1898-99 and 1908; Board of Gov- 
ernment, 1920; Pres., 1922-23; mem. 
Mendelssohn Quartette, 1884-94; Main 
St. Free Baptist Church Choir, Lewis- 
ton, 1891-1917; High St. Cong. Church 
Choir, Auburn, 1883-1891; dir. music, 
United Baptist Church, 1917-23, and at 
Bates College, 1914-25; Mason, Odd 
Fellow. Vocation, salesman. Res., 60 
Wood St.; 0., 41 Main St., Lewiston, 
Me. 

Goss, Gertrude, school music supervisor. 
Address, Berwick, Me. 

Gottesfeld, Malvin Davildd, violinist; b. New 
York, March 2, 1910; s. David and Fanny 
Gottesfeld; studied with Leigh G. Fen- 
derson; mem. Lewiston-Auburn Sym- 
phony Orchestra. Address, 56 Howe 
St., Lewiston, Me. 


MUSIC AND MUSICIANS OF MAINE 


Gould, Bertha May, vocalist (soprano); b. 
Portland, Me., Sept. 21, 1877; d. Alvin F. 
and Mary Blake Bailey Welch; m. George — 
F. Gould, April 28, 1904; ed. Miss Saw- 
yer’s School, Portland; studied with Mrs. 
Henrietta Fellows, L. B. Cain, Mrs. Mar- 
tha Hawes Hill and Mrs. Katherine Rick- 
er Keenan; Pres. MacDowell Ciub, Poly- 
phonic Society; associate mem. Portland 
Rossini Club; mem. Woman’s Literary 
Union. Address, 88 Fessenden St., Port- 
land, Me 


Gould, Major John Mead, choir leader; b. 
Portland, Me., Dec. 15, 1839; s. Edward 
and Althea Chase Gould; m. Amelia J. 
Twitchell, Nov. 13, 1866; ed. Gorham 
Academy, Gould’s Academy and Port- 
land High School; leader choir Sea- 
men’s Bethel, Portland; served nearly 5 
yrs. in Civil War, promoted Major, 1864; 
for more than 25 yrs. Treasurer of West- 
ern Maine Festival Chorus. Vocation, 
Bank Cashier. Res., 148 Pearl St., Port- 
land, Me. 


Gould, Maud L., music teacher; accom- 
panist Festival Chorus. Address, Old 
Town, Me. 


Gould, Mae E., music teacher, school mu- 
sic supervisor. Address, 26 Washing- 
ton St., Brewer, Me. 


Gowen, Editha, teacher of piano; b. San- 
ford, Me., Aug. 16, 1893; d. Charles Her- 
bert and Lizzie Bodwell Gowen; ed. 
Portland, Me.; studied with Ida Pink- 
ham, Mrs. Hermann Kotzschmar and 
Madame Antoinette Szumowska of Bos- 
ton Conservatory; former mem. Rossini 
Club and Portland Musicians’ Union. 
Address, 14 Codman St., Portland, Me. 


Graffam, Clinton W., instrumentalist (vio- 
lin, horn); b. Gorham, Me., Dec. 31, 
1885; s. John W. and Ida Rumery Graf- 
fam; m. Eleanor D. Lowe, Aug. 12, 
1908; ed. Gorham Normal School; stud- 
ied with Frank Burnham; Past Pres. 
Kotzschmar Club, Portland; dir. Nat. 
Assn. Music Dealers; Treas. North 
County Music Co., Berlin, Colebrook 
and Lancaster, N. H.; mem. Portland 
Municipal Orchestra; author of “Essays 
on Music,” “Woman and Music” and 
“Stephen Collins Foster.” Vocation, 
manager music store. Res., 61 Lawn 
Ave., Portland, Me. 

Grant, Allister (Sandy) Harris, pianist 
and organist; b. Quincy, Mass., June 8. 
1903; s. Daniel P. and Georgie A. Grant; 
m. Alice V. MacDonald, March 9, 1924; 
studied piano with Roy Frazee, Boston; 


BIOGRAPHICAL SECTION—1927-1928 


401 


organ with John Herman Loud, Boston; 
dir. choir Clark Memorial M. E. Church, 
Woodfords; former org. First Baptist 
Church, Salem, Mass.; organist Clark 
Memorial Church; mem. B. F. Keith’s 
Theatre Orchestra; formerly Essex 
County C. E. organist of Mass., 5 yrs., 
and pianist Salem Rotary Club, 2 yrs. 
Address, 38 Sawyer St., Portland, Me. 


Grant, Mrs. Dawn, school music super- 
visor. Address, Gray, Me. 


Grant, Mrs. E. H., school music super- 
visor. Address, Turner, Me. 


Grant, Mabelle E., organist; mem. Port- 
land Branch, N. E. Chapter, Am. Guild 
of Organists. Address, 1212 Forest Ave., 
Portland, Me. 


Graves, Ruth Marguerite, vocalist; b. 
Wayne, Me.; d. Charles O. and Annie 
Gould Graves; ed. Tilton Seminary (N. 
H.),» Bliss Business College; studied 
with Prof. Mower, Auburn, Me., Prof. 
Arthurs, New York City, and Henrietta 
D. Rice, Portland, Me.; former Pres. and 
Vice Pres. Euterpean Club; Ist soprano 
Nevin Ladies’ Quartette, So. Paris. Vo- 
cation, stenographer and secretary. Ad- 
dress, 157 Pine St., So. Paris, Me. 


Re Mary E., m.t. Address, Pittsfield, 


Gray, William Melven, vocalist (tenor); 
De Richmond, N. B., Canada, Jan. 20, 


1886; s. Samuel and Barbara Wills 
Gray; m. Gertrude Smith, Oct., 1913; 
ed. University of Maine, B.S.; mem. 


choir North Cong. Church, Sanford, 
Me.; Pres. Sanford Men’s Singing Club. 
Vocation, prop. Gray’s Seed and Imple- 
ment Store. Address, 15 Oak St., San- 
ford, Me. 


Greely, Bernard L., instrumentalist (trom- 
bone and baritone); b. West Cumberland, 
Me., March 6, 1872: s. Eliphalet and 
Abbie Skillin Greely: m. Harriett Stew- 
art, -1600;) ed, Portland, Me.; studied 
with F. O. Wellcome; mem. Chandler’s 
Band, theatre orchestras and Portland 
Musicians Union; Mason; mem. Port- 
land Municipal Orchestra. Vocation, 
piano tuner. Address, 317 Spring St., 
Portland, Me. 

Green, Mrs. Elva, m.t. Address, Skowhe- 
gan, Me. 

Green, Raymond K., Pres. Rockland Fes- 
tival Chorus. Address, Rockland, Me. 
Greenwood, A. T., m.t. Address, 77 Jeffer- 

son St., Biddeford, Me. 


Grey, Charles Carroll, instrumentalist 


(slide trombone and baritone horn); b. 
Brooklyn, N. Y., Dec. 20,: 1900; s. 
Franklin John and Mabelle Wilkins 
Grey; ed. Portland, Me.; studied with 
Frank J. Rigby; mem. American Legion 
Band, Musicians Union and Y. M. C. A. 
Vocation, radio operator. Address, 55 
Clifton St., Portland, Me. 


Griffin, Grace Alberta, vocalist; b. So. 
Portland, Me., May 22, 1900; d. Albert 
D. and Eva M. Griffin; studied with Jen- 
nie King Bragdon and at Eastern Naza- 
rene College, Wollaston, Mass.; voice, 
piano with Prof. Vera F. Richards; mem. 
choir So. Portland Church of Nazarene; 
former mem. Maine Festival Chorus and 
student mem. Portland Rossini Club, I 
As Address, 119 Pine St., So. Portland, 

e. 


Guild, Mrs. Erlon K., m.t.; 
accompanist Festival Chorus. 
Fort Fairfield, Me. 


Guild, Waldo Imlah, soloist (trombone 
and vocal); b. Norwood, Mass., Oct. 20, 
1859; s. Nathaniel H. and Sarah (Bab- 
cock) Guild; m. Anna Jane Hunter, 
June 6, 1894; mem. First Baptist Church 
Choir; mem. Augusta Symphony Or- 
chestra, LO, O. Fvand-Ay & & ALM; 
dir. quartettes, choruses, band and or- 
chestra for many years; mem. Maine 
Commandery, K. T., No. 1. Address, 62 
Kingsbury St., Gardiner, Me. 


Guptill, Juanita Eileen, pianist, orchestra 
leader; b. Augusta, Me.; d. L. Bert and 
Ida Mae Owen Guptill; ed. St. Joseph’s 
Convent and Gladsheim School; studied 
with Howard Clark, Virgil Clavier School, 
Dr. Latham True and Prof. Godfrey 
Browne, London, England; Leader Jef- 
ferson Theatre Orchestra, Mendelssohn 
Trio and Juanita Guptill’s Gypsy Girls. 
yaar 507 Cumberland Ave., Portland, 

e. 


conductor and 
Address, 


Hackett, Arthur, vocalist (tenor); b. Port- 
land, Me.; s. Mr. and Mrs. Charles A. 
Hackett; m. Constance Freeman, 1914; 
ed. public schools of Worcester, Mass.; 
studied violin with Michael Riedel; voice 
with Arthur J. Hubbard, Boston; for- 
merly soloist at Central Congregational 
and Second Universalist Churches, Bos- 
ton; soloist with Boston Symphony Or- 
chestra in 1916; has since made 21 ap- 
pearances with this orchestra in New 
York, Boston and other cities at its reg- 
ular concerts, singing under conductors 
Muck, Rabaud, Monteux and Koussevit- 
zky; chosen by Geraldine Farrar as 


402 


ARTHUR HACKETT, LYRIC TENOR. 


assisting artist on 5 concert tours cover- 
ing the entire country; made concert 
tour in 1917 as assisting artist with 
Madame Melba; has appeared with the 
New York, Philharmonic, Philadelphia 
Symphony, Cleveland Symphony, St. 
Louis Symphony, Minneapolis Sym- 
phony, Los Angeles Philharmonic Or- 
chestras; soloist at Worcester, North 
Shore, Ann Arbor and other Festivals; 
appeared with Handel and Haydn Soci- 
ety of Boston 5 times and as soloist in 
many concerts and recitals throughout 
the country; tenor soloist at Brick Pres- 
byterian Church, Fifth Ave. and 37th 
St.. N. Y.; in Europe from 1924-27, sang 
at Paris Grand Opera; soloist with La- 
moureux Orchestra, Paris; soloist with 
Melba on her farewell tour of British 
Isles. Address, 320 Central Park West, 
New York. 

Hackett, Constance Freeman. teacher 
piano, coach, accompanist; b. Yarmouth, 
Me.; d. E. Dudley and Georgia Carlton 
Freeman; m. Arthur Hackett, 1914; ed. 


MUSIC AND MUSICIANS OF MAINE 


Bradford Academy and N. E. Conserva- 
tory; studied with Alfred De Voto; ac- 
companist for Arthur Hackett and other 
singers of note; mem. National Hono- 
rary Musical Sorority of Mu Phi Epsi- 
lon. Address, 320 Central Park West, 
New York. 


Haines, Beth E., m.t. Address, 2 Spring 
Place, Waterville, Me. 


Haines, Mrs. Harold D., organist, pianist; 
mem. Portland Branch, N. E. Chapter, 
Am. Guild of Organists; mem. Portland 
Rossini Club; Vice Pres. Women’s Cho- 
ral Society; organist and choir dir. Cen- 
tral Sq. Baptist Church. Address, 63 
Alba St., Portland, Me. 


Haley, Eugene A., instrumentalist (tuba, 
contra .bass); b. Bangor, 1855; s. Au- 
gustus and Sarah J. Haley; m. Lucy H. 
Crosby, 1889; studied with H. J. Butler. 
R. B. Hall and E. P. Beckett; mem. 
Bangor Band and M. H. Andrews and 
the Bangor Symphony Orchestra. Res., 
Bangor, Me. 


Hall, Albert Bradish, vocalist (tenor); b. 
Portland, Me., Jan. 6, 1857; s: Charles 
H. and Caroline Page Hall; m. Clara C. 
Webster, Oct. 20, 1880; studied with 
William Howard, William H. Stock- 
bridge and W. H. Dennett; mem. choirs 
at First Baptist, Second Parish, High 
St. Cong., Congress Sq. and Universa- 
list Churches; mem. and formerly Pres. 
Men’s Singing Club; former mem. 
Haydn Asso., Choral Art Society and 
Kotzschmar Club. Vocation, Fire Ma- 
rine Ins. Address, 51 Thomas St., Port- 
land, Me. 


Hall, Alcada Lavinia, teacher of piano; b. 
Thomaston, Me., March 30, 1904; d. Al- 
bert and Louise Cleveland Hall; ed. 
Coburn Classical Institute; studied with 
Carl Jean Tolman, Helen Carr, Ella 
Sampson Gowell and Ruth T. George; 
org., Congregational, Episcopal Church- 
es; Pres. Harmony Club; mem. Rubin- 
stein Club. Address, Beechwood St., 
Thomaston, Me. 


Hall, Evelyn Arey, organist; b. Vinal- 
haven, Me., June 8, 1895; d. Edmund W. 
and Mary L. Arey; m. Elliott Edgar 
Hall, Sept. 9, 1922; ed. Bates College; 
studied with Linda A. Jones; mem. O. 
E. S. Address, Springfield, N. J. 


Hall, Grace (see Grace Hall Brandon). 


Hall, Howard E., Conductor Newcastle- 
Damariscotta Festival Chorus. Address, 
Damariscotta, Me. 


BIOGRAPHICAL SECTION—1927-1928 403 


Hall, Ruby Adelle, vocalist; b. Portland, 
Me., Feb. 11, 1910; d. Irving E. and 
Emily Kidder Hall; studied with Elsie 
Lunt (piano) and voice with Mrs. Jen- 
nie King Bragdon; mem. Portland Ros- 
sini Club. Address, 139 Glenwood Ave., 
Portland, Me. 


Hallett, Anna Lee, music teacher; b. Mill- 
wille, N. B., Canada, Nov. 17, 1808;- d. 
Josiah and Elizabeth Hallett; ed. Aca- 
dia Seminary, and New England Con- 
servatory; studied with Mr. De Voto 
and Mr. Wingate; mem. Houlton Music 
apes A MT A. and A. C. 


Hanson, Mrs. Grace E., m.t. 


Hanson, James W., 


Address, 
Winter Harbor, Me. 


clarinettist; b. Bel- 
grade, Me. :Aug.)3T, 18790; °s. John F. 
and Jia K. Hanson; m, Zana B; Bick- 
ford, June 2, 1909; ed. Kent’s Hill Sem- 
inary, Readfield, Me.; studied with pri- 
vate teachers and U.S. Army; mem. 
19th Infantry Band, 1899-1902, Band, 
Dover, N. H., 1907-8; mem. Abnaki 
Club, Am. Legion, Mason, Grange. Vo- 
cation, State Adjt. General and Chief of 
State Highway Police. Address, Bel- 
grade, Me. 


T. A.; director several bands, orchestras Hanson, J. Arthur, vocalist (bass); mem. 


and glee clubs. Vocation, supervisor of Kotzschmar Club, Portland Men’s Sing- 
music. Address, 64 Court St., Houlton, ing Club, Portland Festival Chorus. Ad- 
Me. dress, 194 Prospect St., Portland, Me. 
Halliday, Ada, m.t. Address, Calais, Me. Harkness, Vinton Orris, bandsman (clar- 
Halverson, Alfred O., vocalist; mem. inet); b. Lincolnville, Me. Aug. 23, 
Portland Men’s Singing Club. Address, 1898; s. O. A. and Anna E. Harkness; 
117 Dartmouth St., Portland, Me. ed. University of Maine, Orono, Me.; 


Hamilton, Charles Grant, vocalist, violin- mem. Second Maine and 1o3rd (Sa 2. 
ist; b. Richford, N. Y., Aug. 19, 1900; s. Inf. Band; mem. Sigma Alpha Epsilon 
Rey. Gilbert M. and Eva J. Grant Hamil- Fraternity and Veterans of Foreign 
ton: ed. Arcade, N. Y., High School, Wars. Vocation, mechanical engineer. 
Cazenovia, N. Y., Seminary, Univ. of | Address, R. F. D. No. 7, Bangor, Me. 
Maine and Bangor Theological Sem.; Harmon, Harriet B., pianist; priv. mem. 
studied with Nina Halsey, Groton, N. Y., Portland Rossini Club. Address, 12 
and Mrs. W. A. Denison, Arcade, N. Y.; Deering St., Portland, Me. 


mem. choir St. John’s Episcopal Church, Harper, John, flutist. Address, 25 Smith 
Bangor; former mem. Bach Choir; mem. St., So. Portland, Me. 


Pi Pi Kappa Fraternity at U. of M., . : : 
Rising Virtue Lodge, No. 10, F. & A. M., Se ad Nee ay phi ees 
Bangor; Vice Pres. Madison District Sun- Pe Ce A eta Hee (Haines) aM adtente 
day School Asso. Vocation, clergymau. sy Ren janin Wd Haan TORE OR. 
Address, Box 194, Solon, Me. 1910; ed. Conservatory, Kent’s Hill, 

Hamilton, Gertrude Beane, pianist, teacher Me.; studied with Sarah F. Bagley. Ad- 
of piano, composition and musical his- dress, Livermore Falls, Me. 


tory; b. Katahdin Iron Works, Me.; d. — pyart 
Joshua Fillebrown and Lydia A. Beane; fa hee ORT aceon eee 


m. Donald Leigh Hamilton, June 30, Harrington, Margaret, vocalist t 
me Desi : , vocalist, concer 
1902; studied with Nina PL EOe: soloist. Address, Rockland, Me. 


Thomas Tapper and-F. H. Shepard, 

Orange, N. J.; composer, Twilight Songs; Harrington, Woodbury P., musician; b. 
author, Musical Essays in Etude, short Harpswell, Me., Jan. 11, 1867; Ss. Joseph 
stories and verse. Summer home, En- W. and Martha (Gahan) Harrington; 
field, Me. Address, 217 State St., Ban- m. Carrie A. Turner, Oct. 3, 1894; pro- 
fessional musician for 40 yrs.; city clerk, 


gor, Me. 
: eter’ Add SO. Portland, «12 yrs.; Mason; Bayard 
Hamilton, Ira W., violinist. Address, 53 Koh eee ee Randall St., a es peea 


Portland St., Portland, Me. 5 : ; 
Hamilton, Leigh, vocalist; mem. Bach ane Oy City Clerk’s Office, So. Port- 


pot Bango r. Address, Bangor, rhs Harris, Mabel Johnson, pianist; b. Auburn, 
Hamlin, Edwin M., mem. Bd. Dir. Eastern Me., March 14, 1886: d. Walter H. and 


Maine Musical Association. Address, Henrietta (Fairbanks) Johnson; m. 
Milo, Me. Harold Glen Harris, May 8, 1919; ed. 
Hanley, Celia C., m.t. Address, 67 Lincoln Lewiston, Portland, Me., and Boston, 
Ave., Gardiner, Me. Mass:; studied with Frank L. Rankin 


404 MUSIC AND MUSICIANS OF MAINE 


and Virgil Clavier School, Portland, and 
Harris S. Shaw, Boston, Mass.; mem. 
Philharmonic Society and Musicians 
Union, Lewiston; representative of Coit- 
Alber Lyceum and Musical Bureau of 
Boston; teacher of piano in Lewiston 
for more than 15 yrs. Address, 90 Maple 
St., Malden, Mass. 


Harrison, Charles, vocalist (tenor); b. Jer- 
sey City, N. J.; s. Benjamin Franklin 
and Martha Seguine Harrison; m. Beu- 
lah G. Young, Nov. 15, 1925; studied 
with Frederick Bristol; Sec’y-Treas. 
Bristol Studio Association, Harrison, 
Me.; Victor Recording Artist and Radio 
Artist: concert and church soloist; Reci- 
tal Concert and Symphony Orchestra 
Tours. Res., Nyack, N. Y. Summer res., 
Harrison, Me. 


Harrison, Mrs. Herbert C., vocalist (alto) ; 
mem. MacDowell Club, Portland Poly- 
phonic Society. Address, 34 Pitt St., 
Portland, Me. 


Harvey, Edith L., m.t. Address, 34 Gran- 
ite St., Augusta, Me. 


Haskell, Christine Daggett, concert pian- 
ist; b. Fairfield, Me.; d. William T. and 
Harriett Daggett; m. Dr. Raymond 
Haskell, June 17, 1914; ed. Coburn Clas- 
sical Institute; studied with Helen Co- 
nant, E. W. Hanscom, Florence Leon- 
ard, N. Y., and Rudolph Maria Brie- 
thaupt, Berlin, Germany; acc. Me. Fes- 
tival; organist, 6 yrs., First Congrega- 
tional Church, Waterville; mem. Main 
Line Music Club, Philadelphia, and 
Sewickley, Pa., Music Club. Address, 
Broad St., Sewickley, Pa. 


Haskell, Norman Edwin, tenor soloist and 
concert artist; b. Waterville, Me., April 
1, 1899; ed. Waterville grammar and 
High Schools; enlisted in Ordnance 
Corps during World War, stationed at 
Camp Hancock, Ga.; married, June 2, 
1924, to Miss Lillian A. Mason of Bath, 
Me.; studied with Harrison A. Smith; 
former mem. Baptist, Cong., Univ., 
Episc., Meth., Unitarian and Catholic 
Choirs, Cecilia Choral Society and Men’s 
Singing Club; mem. of various quartets; 
mem. Cong. Church, Kiwanis Club, 
American Legion, Masonic Orders in 
Waterville, Augusta and Portland. Vo- 
cation, teller at The People’s National 
Bank. Address, 9 Morrill Ave., Water- 
ville, Me. 

Haskill, Marion, teacher of violin. Ad- 
dress, Norway, Me 


Hatch, Alice Louise, music teacher’ (vocal 


and instrumental); b. Portland, Me.; d. 
William H. and Almira L. Hatch; for- 
merly mem. Haydn Association of Port- 
land; studied piano with Hermann 
Kotzschmar; voice with Madame Fran- 
ces Hawes, Portland, and Kate Parks of 
Boston, a pupil of Madame Garretti, N. 
4 Studio, 881 Congress St., Portland, 
e. 

Hatch, Mrs. Florence W., m.t., Address, 

440 Sawyer St., So. Portland, Me. 


ai Harold, m.t. Address, Newport, 

e. 

Haviland, Mrs. Foster L., pianist; mem. 
Portland Branch, N. E. Chapter, Am. 
Guild of Organists; mem. Portland Ros- 
sini Club; organist Chestnut St. M. E. 
Church. Address, 151 Pleasant Ave., 
Portland, Me. 


rece Louise, m.t. Address, Sullivan, 

C 

Hay, Mrs. Harry, vocalist (contralto). 
Address, Westbrook, Me. 


Hay, Mrs. Walter F. W. (Alice White), 
teacher of pene: b. Westbrook, Me., 
June 7, 1896; d. Charles and Jennie Wil- 
son White; m. ‘Walter F. W. Hay, Sept. 
4, 1920; ed. N. E. Conservatory of Mu- 
SiC; studied with Lee Pattison and 
George Proctor; mem. Portland Rossini 
Club, Nat. Honorary Sorority of Mu 
Phi Epsilon. Vocation, teacher, pianist 
and accompanist. Address, 216 Dart- 
mouth St., Portland, Me. 


Haycock, Allan R., vocalist (baritone), 
music teacher; b. Calais, Me., 1869; s 
Willis M. and Ella Young Haycock; m. 
Mina McKusick Lowell, July 1, 1925; 
ed. Westbrook Seminary; studied with 
Arthur Pennell, Carl Sobeski, Boston, 
and Ross David in New York; mem. 
Bangor Festival Chorus, K. of P., Chan- 
cellor Commander, 1928: Vice Pres. 
Bangor Bach Choir. Address, The Hay- 
cock Vocal Studio, 169 Broadway, Ban- 
gor, Me. 


Haycock, Mina G., contralto soloist; b. 
Calais, Me.; d. Marshall N. and Lucy J. 
McKusick; m. Allan R. Haycock, July 3, 
1925; ed. Calais Academy; studied with 
Ross David, Y., Wheeler, St. Paul, 
and Weaver School of Music. Vocation, 
supervisor of school music. Address, 169 
Broadway, Bangor, Me. 


Hayden, Elsa M., vocalist (soprano); b. 
Rockland, Me., Aug. 7, 1890; d. George 
Dow and Harriet E. M. Hayden; ed. 
Commercial College; studied with Edith 


BIOGRAPHICAL SECTION —1927-1928 


Castle, Boston, Allan A. Ratnusay, Bath, 
Paul Bleydon, Washington, D. C., Car- 
rie Burpee Shaw; mem. choir First Bap- 
tist Church; organist, 8 yrs.; mem. Ru- 
binstein Club, Wight Philharmonic So- 
ciety, Golden Rod Chapter, O. E. S.; 
Vice Pres. Rubinstein Club 1 yr.; organ- 
ist Golden Rod Chapter, O. E. S., 4 yrs.; 
vocalist, Golden Rod Chapter, 4 yrs. 
Vocation, stenographer and clerk. Ad- 
dress, 68 Mechanic St., Rockland, Me. 


Hayden, Ethel Lee, vocalist, :nstrumen- 
talist, teacher; b. New York City; d. 
William E. F. and Elizabeth La Domus 
Smith; m. Rev. Ralph Henry Hayden, 
M.A., Sept. 5, 1917; ed. St. Agnes School, 
Washington Irving H. S. and Hunter 
College; studied with Harriet MacKal- 
lor (piano), Albert Wood (organ), Eva 
Hawkes (voice); mem. choir Holy 
Apostles Church, New York City (con- 
tralto); organist Seamen’s Church I[n- 
stitute and Church of Holy Apostles, N. 
Y., and St. Thomas Church, Camden, 
Me.; mem. Rubinstein Club and Lady 
Knox Chapter, D. A. R., Rockland, Me. 
Address, 33 Chestnut St., Camden, Me. 


Hayden, Villa, school music supervisor. 
Address, Caribou, Me. 


Hayes, Earle R., vocalist (baritone); b. 
Gardiner, Me., May 8, 1894; s. Patrick 
and Annie L. Hayes; m. Leonia May 
Gove, May 1, 1916; ed. Kent’s Hill Sem- 
inary ; studied with Dr. Karl C. H. Drech- 
al, Kent’s Hill, and L. Francis Mac- 
Nichol, Augusta; mem. choir Unitarian 
Church, Augusta, 3 yrs.; now at Cong. 
Church, Augusta (5 yrs.); Past Master 
Windsor Grange, P. of H.; Past Exalted 
Ruler, Augusta Lodge, B. P. O. E.; mem. 
Sons of Veterans. Vocation, insurance. 
Address, R. F. D. No. 51, Weeks Mills, 
Me. 

Hayes, Elizabeth, Librarian Bangor Festi- 
val Chorus. Address, Bangor, Me. 


Hayford, Mary H., m.t. Address, 63 San- 
ford St., Bangor, Me. 


Haynes, Hazel Giles, vocalist (soprano), 
pianist; b. Ellsworth, Me., Dec. 10, 1896; 
d. Jeremiah Tibbetts and Julia Ann 
Rowe Giles; m. Charles Albert Haynes, 
June 28, 1922; studied with May Bonsey, 
Ellsworth, and Mrs. Grace B. Howes, 
Brewer; mem. choir and org. First Con- 
gregational Church; mem. Woman’s 
Club, Festival Chorus, Literature Club, 
aourscay, Club, F. T. F. Church Club; 
Vice Pres. Am. Leg. Aux., Frank E. 


405 

Whitmore Post, No. 63. Address, 26 
South St., Ellsworth, Me. 

Haynes, Mrs. William H., m.t. Address, 


Richmond, Me. 


Heath, Effie Mae, teacher of piano; b. Au- 
burn, Me., 1873; d. Elbridge G. and 
Eleanor Harmon Heath; ed. Auburn 
Public Schools; studied piano with E. 
W. Hanscom and William H. Sher- 
wood; harmony with George Lowell 
Tracy; Vice Pres. and honorary mem. 
Clef Club, 10905-6-7; mem. Course of 
Study Committee, Spinet Club, 1906-7; 
mem. Philharmonic Club, Auburn and 
Lewiston, 1922, and Musical Union. 
Address, 33 Pine St., Auburn, Me. 


Hebert, Veronica A., teacher cello and 
violin. Address, 6 Myrtle St., West- 
brook, Me. 


Heim, Gustav, leader Norway Band. Ad- 
dress, Norway, Me. 


Henderson, Thomas M., vocalist (tenor), 
soloist; toured Maine with W. R. Chap- 
man; singer of Old English, Scotch and 
Irish Ballads. Address, Westbrook, Me. 


Hennessy, Wilfrid A., mem. Bd. Dir. 
Eastern Maine Musical Association. Ad- 
dress, Bangor, Me. 

Hennigar, Prudence Melba, teacher of 
piano; b. Portland, Me., March 1, 1896; 
d. William Oscar and Anna Murphy 
Hennigar; ed. N. E. Conservatory; stud- 
ied with Helen Foster, Henry Goodrich 
and Richard Stevens; mem. Marston 
Club. Studio, 655 Congress St., Port- 
land, Me. 

Heth, Mrs. Fannie Tewksbury, vocalist; 
d. Alice Skolfield; mem. Univ. Church 
Choir for many years; teacher of danc- 
ing. Address, Lewiston, Me. 

Hewins, Charles Knowlton, vocalist (bass) ; 
b. Wakefield, Mass., Dec. 14, 1903; s. 
Frank and Alice Knowlton Hewins; 
studied with Prof. Thieme and B. Ray 
Shaw; mem. Universalist Church Choir; 


mem. Augusta Symphony Orchestra 
(violin). Address, 15 Flagg St., Au- 
gusta, Me. 


Hewins, Violet Eva, teacher of piano; b. 
East Winthrop, Me., 1892; d. Fred L. 
and Malista J. Hewins; studied with 
Carl Jean Tolman; piano soloist; mem. 
Cecilia Club, Augusta. Address, 35 
Academy St., Hallowell, Me. 

Hicks, Charles Edgar, trombonist; b. 
Hampden, Me., June 1, 1899; s. Herbert 
Crosby and Jennie Edgar Hicks; m. 
Dorothy E. Doe, June 1, 1921; ed. Ban- 


406 MUSIC AND MUSICIANS OF MAINE 


gor public schools and Doe’s Business 
College; studied with Herbert C. Hicks 
and Benjamin Shaw; mem. Bangor 
Band and Bangor Symphony Orchestra; 
mem. Bangor Masonic Club and Musi- 
cians Asso. Vocation, trombonist, Bijou 
Theatre Orchestra, Bangor, and Keith’s 
Theatre, Portland. Address, 15 Fessen- 
den St., Portland, Me. 


Hicks, Dorothy Doe, accompanist, soloist, 
teacher of piano, vocalist (soprano); b. 
Bangor, Me. April 5, 1900; d. Harris 
N. and Annetta Clark Doe; m. Charles 
E. Hicks, June 1, 1921; ed. Bangor, Me.; 
studied with Mrs. Geo. Dunning, Ban- 
gor, and C. Winfield Richmond (piano), 
and voice with C. Leroy Lyon, Bangor; 
accompanist Maine Music Festival, Ban- 
gor; mem. Schumann Club; accompan- 
ist, Universalist and First Baptist 
Church Orchestras. Address, 15 Fes- 
senden St., Portland, Me. 


Hicks, Herbert Crosby, cornettist; b. 
Hampden, Me., June 15, 1873; s. Charles 
Earl and Dorcas Loring Hicks; m. Jen- 
nie Edgar, Aug. 25, 1897; ed. Hampden 
Academy; studied with E. C. Adams; 
mem. Bangor Band for 28 yrs.; mem. 
Bangor Symphony Orchestra; Pres. 
Musicians Union; Leader Annah Temple 
Band; mem. Masonic Blue Lodge. Vo- 
cation, builder. Address, 73 Center St., 
Bangor, Me. 


Hill, Brenda Frances (Emery), vocalist 
(mezzo soprano); b. Bath, Me., Aug. 
27, 1882: d» Charles D. and Fannie M. 
Emery; m. Fred D. Hill, Sept. 3, 1908; 
ed. Bath Public Schools; studied with 
Millard Bowdoin and Mme. Rosa John- 
son; soloist Grace Episcopal Church; 
Sec. Bath Festival Chorus, 1914-1919, 
Pres. 1922; Pres. Mendelssohn Club and 
the Grace Church Guild. Address, 1006 
High St., Bath, Me. 


Hill, Dora M., m.t. Address, R. F. D. No. 
2, Greene, Me. 


Hill, Ethel Cary, teacher of violin; b. Lew- 
iston, Me.; d. Edward H. and Charlotte 
Corbett Thompson Hill; studied with 
Willis Bacheller, George Lowell Tracy 
and Otto C. De Scheda of Paris, France; 
mem. Perry’s and Arthur N. Pettengill’s 
Orchestra. Vocation, violinist, Priscilla 
Theatre, Lewiston. Address, 136 Bates 
St., Lewiston, Me. 

Hill, Ernest J., vocalist (tenor); b. Bux- 
ton, Me.; s. Albert G. and Lydia Dear- 
born Hill; m. Martha F. B. Hawes, Nov. 
20, 1912; ed. Me. Central Institute; stud- 


ied with F. B. Peakes; mem. choir 
Church of our Saviour, Wyncote, Pa., 
St. Paul’s Church, Ogontz, Pa., Cathe- 
dral of St. Peter and St. Paul, Phila., 
Pa., and State St., Portland; mem. Or- — 
pheus Club, Fortnightly Club, Philadel- — 
phia; mem. Peakes Opera Co. and Port- 
land Men’s Singing Club; Pres. Port- 
land Festival Chorus. Vocation, Equi- 
table Life Insurance Society, N. Y. Ad- 
dress, 125 Allen Ave., Portland, Me. 


Hill, Ernest Richard, musical director and 
music teacher; b. Taunton, Somerset, 
England, Dec. 28, 1877; s. Richard Cloud 
and Eleanor Pyne Hill; m. Elizabeth 
Mahan, June 1, 1905; ed. College of 
God’s Gift, Dulwich, England; studied 
with H. W. Merrick and Dr. J. G. Sur- 
gey; dir. Masonic Band and Augusta 
Symphony Orchestra; mem. Augusta 
Lodge, No. 141, F. & A. M., Cusinoc 
Chapter, No. 43, R. A. M., Trinity Com- 
mander, No. 7, Emeth Chapter, Rose 
Croix, Maine Consistory, Portland. Ad- 
dress, 2694 Water St., Augusta, Me. 


Hill, Fred Lincoln, teacher piano, organ 
and harmony; b. Norwich, Conn., April 
14, 1890; s. Irving Edward and Sarah 
Oat Hill; m. Katharine Caswell, May 
17, 1918; ed. Portland, Me., Syracuse, 
N. Y.: ‘studied with Cathanr = fra-, 
George Pabst and course at Toronto 
University; mem. The New Portland 
Instrumental Trio; Vice Pres. Kotzsch- 
mar Club: Sec.-Treas. Portland Group. 
Am. Guild of Organists; organist for all 
Masonic Bodies in Portland, and Im- 
manuel Baptist Church; mem. Kiwanis 
Club, Royal Arcanum and St. Albans 
Com., Knights Templar, and a Scottish 
Rite Mason; composer of many songs; 
accompanist Portland Men’s Singing 
Club. Vocation, Head of Piano Dept., 
Thompson School of Music. Res., 139 
Neal St., Portland, Me. 


Hill, George Thomas, vocalist (tenor); b. 
Gray, Me., April 7, 18091; s. Luther 
Weymouth and Mabel Frances Hill; ed. 
Pennell Institute, Gray, Me.; Pres. Gray — 
Festival Chorus; Treas. Gray Singing — 
School; Treas. Gray Post American 
Legion, No. 86. Vocation, mail carrier. 
Address, Gray, Me. 


Hill, Mrs. WHarriet, honorary member | 
Philharmonic Club, Auburn-Lewiston. 
Address, Lewiston, Me. 

Hill, Helen E., mt. Address, 26 High St., 
Saco, Me. 

Hill, Mrs. Martha Hawes, vocalist (con-— 


BIOGRAPHICAL SECTION—1927-1928 407 
i re 


tra to), so‘oist; b.e Portland, Me.; d. 
Char.es Boody and M. Josephine Knight 
Hawes; m. Ernest J. Hill, Nov. 20, 1912; 
ed. Portland, New York and London; 
studied with Frederick Bristol; mem. 
Rossini Club, Portland Festival Chorus 
(30 yrs.); mem. High St. Church Choir, 
Portland. Address, 125 Allen Ave., Port- 
land, Me. 


Hilton, Ernest C., teacher clarinet, cello 
and saxophone; b. Union, Me.; s. Ches- 
ter S. and Sadie E. Hilton; m. Ethel C. 
Daggett, June 22, 1907; studied with 
Prof. B. W. Thieme; mem. Odd Fellows, 
Kiwanis Club; former mem. Colonial 
Theatre Orch., Augusta Opera House 
Orch.; mem. Augusta Cadet Band and 
Augusta Symphony Orchestra. Address, 
3 Scott St., Augusta, Me. 


Hilton, William Keene, organist; b. Dam- 
ariscotta, Me., Sept. 30, 1860; s. William 
Keene and Abigail Bradford Keene Hil- 
toOn,eneinma Me Smith, March 22, 
tg1t; ed. Lincoln Academy, Bowdoin 
College; studied with Lizzie Sewall, 
Bath, Me.; Pres. local Festival Chorus; 
formerly organist Baptist Church and at 
Bowdoin College. Address, 11 Elm St., 
Damariscotta, Me. 


Hinckley, Harold, mem. Bd. Dir. Eastern 
Maine Musical Association. Address, Ban- 
gor, Me. 

Hinckley, Mrs. W. M., Pres. Jonesport 
Festival Chorus. Address, Jonesport, Me. 


Hinds, Leo P., vocalist (tenor); b. Gardi- 
ner, Me., April 7, 1891; s. Harry E. and 
Jane Brown Hinds; m. Mary V. Kil- 
bride, Oct. 31, 1917; studied with Llew- 
ellyn B. Cain and Elizabeth Lathafn 
Otis, Portland; formerly mem. choir 
Cathedral of Immaculate Conception 
(Ta yrs); mem. choir St. Patrick’s 
Church, Portland. Vocation, City As- 
sessor. Address, 40 Whitney Ave., Port- 
land, Me. 


Hinton, Mae Weeks, teacher of piano; b. 
Oakfield, Me., Dec. 22, 1882; d. Avon D. 
and S. Lavenia Weeks; m. William F. 
Hinton, Dec. 7, 1910; ed. Boston, Mass., 
and Hartford, Conn.; studied voice with 
Harry Pepper; piano with Newton 
Swift and Edith Flanders; studied pub- 
lic school music with Ralph Baldwin of 
Hartford, Conn.; studied 5 seasons with 
C. Winfield Richmond, Bangor; organ- 
ist, Congregational Church. Address, 
Millinocket, Me. 


Hitchings, Marion Thompson, organist; 


b. Capac, Mich., Oct. 8, 1893; d. Herbert 
B. and Clara (Dinsmore) Hitchings; ed. 
Adrian College; studied with A. S. Wil- 
liams, Master Graduate Royal Conser- 
vatory, Leipsic; Mrs. Crosby Adams, 
Chicago; Florence Leonard and Louisa 
Hopkins, Philadelphia; Conductor of 
Thursday Musicales; mem. Kappa Kap- 
pa Gamma Fraternity, Woman’s Lit- 
erary Club, Star Literary Society, Alpha 
Society of Musical Research; chairman, 
music committee Literary Club. Ad- 
dress, Caribou, Me. 


Hobbs, Jesse Percival, bandsman, teacher 


brass instruments; b. Turner, Me., April 
10, 1864; s. William H. and Mary C. 
Hobbs; m. Minnie O. Sutton, Oct. 5, 
1917; studied with Eby, virtuoso music; 
mem. Lewiston Brigade Band (baritone) 
and Hobbs Orchestra (cornet); mem. 
M. of F. and K. of P.; former mem. 
Hobbs A. M. Band, Lewiston, and Halls 
Band, Waterville, Me. Vocation, barber. 
Address, Turner, Me. 


Hodgins, Eliza Blanchard, vocalist; b. 


Calais, Me.; d. Charles Robinson and 
Margaret Milligan Blanchard; m. Orin 
Alvin Hodgins; Pres. Houlton Music 
Club, 1922-24; State Extension Chairman, 
Maine Federation of Music Clubs, 1922- 
25; Pres. Unitarian Alliance, 1 yr., and 
choir dir. for 4yrs.; Pres. Houlton Wom- 
an’s Club, 1920-21, and at present chair- 
man of the music committee; mem. Con- 
servation Com. State Federation of Wom- 
en’s Clubs; Sec. Lydia Putnam Chapt., 
D. A. R., 4 yrs., and at present is State 
Auditor. Address, Houlton, Me. 


Hodgkins, Iva Nutter, teacher of piano; b. 


East Corinth, Me., Sept. 13, 1891; d. Hi- 
ram Bartlett and Dora Jewett Nutter; m. 
Carroll William Hodgkins, June 5, 1920; 
ed. Foxcroft Academy; studied with Dr. 
Latham True, Arthur Foote and Rudolph 
Ganz; org. Congress St. M. E. Church 
and Woodfords Cong.. Portland. Ad- 
dress, 49 Falmouth St., Portland, Me. 


Hodgman, William A., teacher piano, or- 


gan, harmony and theory; b. Lewiston, 
Me., July 12, 1897; s. Benjamin A. and 
Mabel S. Hodgman; ed. Auburn, Me.; 
studied with Prof. Crafts, Testa and at 
Boston Conservatory; formerly organist 
United Baptist Church; mem. Red Men 
and Y. M. C. A.; composer, “O! Little 
House O’ Dreams,” “Sonata,” “Prelude 
in C. Minor” and several teaching exer- 
cises and books; mem. B. P. O. E. Vo- 


408 


cation, theatre organist. Address, 5 
Riverside Place, Lewiston, Me. 


Hollister, Leona Stevens, composer of 
“Somewhere in Maine” and other songs. 
Address, care of Lamb’s Club, New York 
City. 

Holt, G. Dana, composer, bandsman; b. 
Dixfield, Me., March 2, 1874; s. George 
and Vienna (Yetten) Holt; m. Edith D. 
Bezanson, July 15, 1908; studied cornet 
under his father, George Holt, Enoch 
Perkins, Lewiston, E. M. Bagley and 
Henry C. Brown, Boston; many solo 
engagements in Boston and other cities; 
mem. Dixfield Band since its organiza- 
tion in 1890, Baldwin’s Cadet Band, Bos- 
ton, Lewiston Brigade Band, Colt’s Arm- 
ory Band; mem. Snow’s Orchestra, No. 
Conway, N. H., Geo. Lowell Tracy’s 
Orchestra, Callahan’s Music Hall Orch., 
Payne’s Orch. of Lewiston, Sedgwick’s 
Orch., Hartford, Conn., Cobb & Hem- 
ingway’s Orch., Asheville, N. C., Swift’s 
Orch., Bretton Woods, N. H., J. How- 
ard Richardson’s Orch., Boston, Mass., 
Lucius Hosmer’s Orch., Colonial Thea- 
tre, Boston, Wm. Capron’s Park Theatre 
Orch., Boston; teacher of cornet and 
brass instruments at Maine Conserva- 
tory of Music; mem. Board of Trade. 
Vocation, printer and marble worker. 
Res., 19 Weld St., Dixfield, Me. 


Holt, Thomas Paine, bandsman (trom- 
bone, wind instruments, cello, bass, 
viola); b. Dixfield, Me., Dec. 7, 1875; 
s. George and Vienna (Yetten) Holt; 
m. Mary S. Stowell, Oct. 11, 1910; stud- 
ied with his father, George Holt, and 
brother, G. Dana Holt; mem. Chase’s 
Orchestra, Dixfield, Me. J. Albert 
Snow’s Orch., No. Conway, N. H., 
Wiley P. Swift’s Orch., Richmond, Va.. 
1 yr., Frank Sedgwick’s Orch., Hart- 
ford, Conn., 5 seasons; mem. Nat. Sol- 
diers Home Band, Togus, Me., 2 sea- 
sons, W. E. Chandler’s Band and Orch., 
Portland, season 1894, Colt’s Armory 
Band, Pope’s Band and Hatch’s Band of 
Hartford, Conn.; Sec. Dixfield Band 
and mem. Dixfield Orch., formerly 
piano tuner for music house of Sedg- 
wick & Casey, Hartford; director, in- 
structor and one of the chief promoters 
of the Dixfield School Band and Or- 
chestra, organized Sept. 18, 1925. Voca- 
tion, marble and granite works. Ad- 
dress, 19 Weld St., Dixfield, Me. 


Homer, Florence, school music supervisor. 
Address, Sangerville, Me. 


MUSIC AND MUSICIANS OF MAINE 


Hood, Walter J., m.t. Address, 14 West 


St., Waterville, Me. 


Hopkins, Mary Frances, vocalist (so- 


prano), pianist; b. Ellsworth, Me., d. 
Albert M. and Sarah Padelford Hop- 
kins; studied with Petersilia, Dr. Claus, 
Charles Dennee and voice with Clara 
Smart, John Hodgdon; organist, Uni- 
tarian Church; mem. Me. Music Festi- 
val Chorus, 26 yrs.; former mem, Ells- 
worth Women’s Club and Orono Wo- 
men’s Club; Pres. Music Study Club; 
mem. Schumann Club, 19th Century 
a Address, 329 Union St., Bangor, 
e. 


Hopkins, Mrs. M. L., m.t. Address, Bucks- 


port, Me. 


Horan, Mrs. Robert V. (Marion Priestly), 


vocalist (alto), cellist; studied with Carl 
Webster and Joseph Adamowski of Bos- 
ton; first cellist with the Verdi and Wel- 
lerman Orchestral Soc. of Boston; for- 
merly mem. Oxford Trio; mem. Mars- 
ton Club, Portland Rossini Club, Phil- 
harmonic Trio; formerly mem. Bee- 
thoven Trio. Address, 7 Codman St., 
Portland, Me. 


Horgan, Marie, vocal teacher (contralto), 


soloist; b. Portland, Me.; d. John L. and 

Ann M. Clarke Morrison; m. Frank A. 

Horgan, Nov. 10, 1893; studied with 

William H. Dennett; former mem. Con- 

gress Square Church Choir, Portland. 

oe 3646 Seneca Ave., Los Angeles, 
al; 


Horne, Mrs. Fannie Hight (Holmes), or- 


ganist; b. So. Paris, Me., April 8, 1854; 
d. E. Austin and Martha Hight Holmes; 
m. Hermon Lester Horne, Oct. 18, 1876; 
organist, Norway Cong. Church for 
over 50 yrs. Address, Norway, Me. 


Horne, George Wallace, vocal teacher, 


soloist (tenor), school music super- 
visor, Lewiston; b. Norway, Me., May 
26, 1861; s. John L. and Hannah Key 
Wallace Horne; m. Ellen M. Fitz, July 
2, 1881; ed. New York City; studied 
with W. H. Stockbridge, W. H. Den- 
nett and Hattie Clapper Morris, New 
York; mem. choir in the United Baptist 
Church, Lewiston, Cong. Sq. Univ., — 
Portland, 3 yrs., High St. Cong., Port- 
land, 3 yrs., Pine St. Cong., Lewiston, 
20 yrs., mem. Aeolian Quartette, Lewis- 
ton, several years; first mem. to join 
Lewiston Festival Chorus and first re- 
hearsal of Festival Chorus held in his 
studio; 32nd degree Mason, K. T. and 
Shrine; mem. Vesper Quartette, Temple 


BIOGRAPHICAL SECTION—1927-1928 409 


Quartette, and Parker Glee Club. Vo- 

- cation, music supervisor, public schools, 
since 1896. Summer home, Norway, 
Me. Res., Lewiston, Me. 


Houghton, John Cecil, concert soloist 
(baritone); b. London, England, Feb. 6, 
1904; s. John Chadwick and Annie 
Houghton; studied with Sergi Klibon- 
sky, N. Y.; mem. choir Church of Eng- 
land. Vocation, florist. Address, 37 
Court St., Houlton, Me. 


Houlihan, Annie L., organist. Address, 
697 Stevens Ave., Portland, Me. 


‘Houston, Mrs. Ruth, m.t. Address, Nor- 
way, Me. 


Hovey, Alice C., vocalist, pianist; b. South 
Thomaston, Me.; d. William T. and 
Eliza (Black) Hovey; ed. Rockland 
High School and Rockland Commercial 
College; studied with Mrs. Lillian S. 
Copping and Mrs. B. A. Bass; mem. 
Methodist Episcopal Church Choir and 
Wight Philharmonic Society; Treas. 
Woman’s Educational Club. Vocation, 
stenographer and bookkeeper. Address, 
14 State St., Rockland, Me. 


Howard, Eleanor, school music supervisor. 
Address, Rockland, Me. 


Howard, Ralph Ellsworth, drummer; b. 
Mechanic Falls, Me., Feb. 8, 1893; s. 
Benjamin R. and Mary F. Howard; m. 
J. Benita Swift, April 17, 1922; ed. Au- 
burn, Me.; studied with I. J. Martin; 
mem. Brigade Band, Lewiston, Masons 
(Shrine) and Odd Fellows. Address, 
144% Spring St., Auburn, Me. 


Howarth, Elsie G., m.t. Address, 4 Emery 
St., Sanford, Me. 


Howe, Etta M., m.t. Address, Hanover, 
Me. 

Howe, George W., school music super- 
visor. Address, 178 College St., Lewis- 
ton, Me. 


Howe, Reginald M., teacher of violin. Ad- 
dress, 562 Congress St., Portland, Me. 


Howes, Grace Bramhall, organist and 
teacher of piano and organ; b. Bangor, 
Me.; d. George P. and Abigail W. 
Bramhall; m. Edwin L. Howes, June 4, 
1919; studied organ with G. W. Whiting 
and H. M. Dunham of Boston, J. W. 


Andrews, N. Y.; piano with Clara F. 


Joy and Mrs. J. B. Ayer; colleague 
Am. Guild of Organists and National 
Association of Organists; mem. Alumni 
Assn. of Am. Inst. Applied Music, N. Y. 
City; organist and director of music 


First Baptist Church, Bangor. Address, 
189 Exchange St., Bangor, Me. 


Howes, Mrs. Grace M., m.t. Address, 107 
State St., Brewer, Me. 


Howland, Harry M., vocalist (baritone) ; 
b. So. Penobscot, Me., Dec. 4, I901; s. 
William H. and Annie Wescott How- 
land; studied with Allan R. Haycock; 
mem. Bach Choir and Essex St. Baptist 
Church Choir, Bangor, Me.; former mem. 
Bangor Festival Chorus. Address, 221 
Centre St., Bangor, Me. 


Hubbard, Mrs. Jessie, music teacher; 
Address, 57 Elm St., Waterville, Me. 


Hudson, Ethel Fredella, violinist, pianist; 
b. Portland, Me.; d. Charles O. and Car- 
rie Owen Hudson; m. Harry W. Hud- 
son, Dec. 20, 1920; ed. Providence, R. I, 
Gorham Normal and Cambridge Train- 
ing School; studied with David E. Fish- 
er; mem. Business Women’s Orchestra, 
Laura E. Ross and Helen Kelley’s Or- 
chestras; mem. Portland Teachers Asso. 
and B. & P. Women’s Club. Vocation, 
public school teacher. Address, 27 Arl- 
ington St., Portland, Me. 


Hughes, Minnie Currie, vocalist (so- 
prano); b. Queensbury, N. B.; d. Rev. 
Calvin and Mary Currie; m. Horace W. 
Hughes; ed. Provincial Normal, and 
Fredericton, N. B.; studied with Mrs. 
J. Hollis Lindsay and others; mem. 
Baptist, Episcopaland Methodist Church 
Choirs at various times (soloist); mem. 
Houlton Music Club, Houlton Woman’s 
Club (Past Pres. of each); chairman 
division of music, Maine Federation of 
Women’s Clubs; chairman Aroostook 
Co. Fed. of Music Clubs; former mem. 
Cecilia Club, Augusta, 1921-22. Address, 
113 Court St., Houlton, Me. 


Hull, Mrs. Charles F. (L. Ferne Webber), 
vocalist (lyric soprano); b. Richmond, 
Me., Sept. 9, 1893; d. Quincy R. and 
Cora Elvira Andrews Webber; ed. Mu- 
sic Dept. Lancaster Jr. College of Lan- 
caster, Mass., and American Institute of 
Normal Methods, Auburndale, Mass.; 
studied piano with Alvah Glover Salmon, 
Boston, and voice with Prof. Edward H. 
Dexter, N. Y.; org. M. E. Church; solo- 
ist Univ. Church, Livermore Falls, 1922, 
and M. EB. Church, Richmond; teacher 
of piano; Supervisor of Music at Cor- 
inna, Newport and Plymouth Union; 
formerly at Richmond and Livermore 
Falls. Address, Livermore Falls, Me. 


Hulten, Rudolf, musician; b. New Bed- 
ford, Mass., May 17, 1894; s. August 


410 


MUSIC AND MUSICIANS OF 


MAINE 


Carl Hulten; ed. M. A. H. S., Boston; 
teaching class in Houlton H. S. and 
Island Falls H. S.; also private pupils; 
Pres. St. Andrew Club, Houlton; mem. 
Al uP :& AS Mee R aPC ice. 
Room 21, Houlton Trust Co. Bldg. 
Res., Houlton, Me. 


Hume, Mrs. Lena L., m.t. Address, 602a 
Congress St., Portland, Me. 


Humphrey, Homer C., concert organist, 
teacher, composer; b. Yarmouth, Me., 
Aug. 1, 1880; s. Augustus H. and Flor- 
ence I. (Gurney) Humphrey; first stud- 
ied with E. A. Blanchard of Portland, 
later graduate New Eng. Cons. of Mu- 
sic under Wallace Goodrich, Louis C. 
Elson, George W. Chadwick; later stud- 
ied with Joseph Bonnet in Paris; organ- 
ist of the Second Church in Boston; 
charter mem. Phi Mu Alpha-Sinfonia 
(Nat. Musical Fraternity); mem. execu- 
tive board, N. E. Chapt. Am. Guild of 
Organists; identified with various Ma- 

- sonic bodies in Maine and Mass.; com- 
poser of “Nocturne” for orchestra; trio 
in one movement for violin, cello and 
piano, “Legende” for piano; several 
songs and organ pieces. Vocation, 
teacher of organ and theoretical branch- 
es, N. E. Conservatory of Music. Sum- 
mer home, Yarmouth, Me. Address, N. 
E. Cons. of Music, Boston, Mass. 


Hunt, Ralph Waldo Emerson, piano 
dealer; b. Portland, Me., Jan. 4, 1884; s. 
Enoch W. and Sarah Frances Neal 
Hunt; m. Agnes M. Snow, Sept. 3, 1907; 
ed. Westbrook Seminary, Tufts College; 
studied with Belle Connor, Mary Jor- 
dan, Virgil Clavier School (piano); for 
many years promoted all kinds of high 
class musical activities, particularly or- 
chestral, instrumental and chamber 
music. Vocation, distributor of pianos. 
Address, 8 Woodbury St., So. Portland, 
Me. 


Hunter, Herbert C., teacher of violin and 
cornet; b. Clinton, Me., Dec. 18, 1867; 
s. Melvin and Lovinia Hunter; m. Nel- 
lie G. Maxim, June 9, 1888; studied cor- 
net with R. B. Hall; mem. Hunter’s 
Orchestra, and Pittsfield Band; com- 
poser of “W. D. H. March” and “Hath- 
orn Park March.” Vocation, piano 
tuner. Address, 19 Hartland Ave., Pitts- 
field, Me. 

Hurd, Everett S., vocalist, concert artist; 
b. Liberty, Me., July 5, 1805; s. William 
Watson and Maud Ellen Hurd; ed. Maine 
Central Institute and Univ. of Maine; 


studied with Mario Carboni; mem. Bach 

Choir and choirs in churches of Pitts- 

burg, Chicago and Bangor; leader Maine 

Glee Club, 2 yrs., mem. 4 yrs.; Pres. Da- 

ine Address, 25 Central St., Bangor, 
e. 

Hurd, Herbert Archie Dearborn, teacher 
of piano and organ; b. Fryeburg, Me., 
July 13, 1894; s. Herbert and Jennie 
Dearborn Hurd; m. Louise Adams, Aug. 
14, 1924; ed. Fryeburg Academy; stud- 
ied with Alfred Brinkler, E. E. Truette; 


organist First Congregational Church; 


dir. A. M. Abbott Chorale Society, 
Fryeburg; Coll. American Guild of Or- 
ganists and National Association of 
Organists; composer of cantata, “The 
Story of the Cross,” “Autumn,” “Ara- 
besque,” “Benedictus,” “Prayer.” Voca- 
tion, teacher piano and organ Fryeburg 
Academy, and supervisor of music pub- 
lic schools. Address, Bradley St., Frye- 
burg, Me. _ 


Hussey, Flora Edna, teacher of piano; b. 
Houlton, Me., Oct. 8, 1888; d. Bennett 
and Louise Shaw Haley; m. Harry B. 
Hussey, Nov. 2, 1910; studied with 
Mrs. J. E. Robinson, Houlton; former 
mem. choir and org. Court St. Baptist 
Church; former mem. Houlton Music 
Club and pianist for Houlton Grange. 
Vocation, saleswoman. Address, 11 Rus- 
sell St., Portland, Me. 


Hutchins, Charles C., Pres. Brunswick 
Orchestral and Choral Society. Address, 
Brunswick, Me. 


Huxford, May, m.t. Address, Brooks, Me. 


Hybert, Dorothy E., m.t. Address, 218 
Park Ave., Portland, Me. 


Hybert, Emil, violinist and concertmaster 
Portland Municipal Orchestra. Address, 
104 Franklin St., Portland, Me. 


Ingalls, Arthur D., m.t. Address, Farm- 
ington, Me. 

Ingalls, Mrs. Arthur D., m.t. 
Farmington, Me. 

Ingalls, Mrs. Willis E., Pres. Fremstad 
Club, Bridgton. Address, Bridgton, Me. 


Inman, Ernest Ira, cornettist; b. Dover, 
Me., May 10, 1895; s. James Ira and 
- Allie (Bartlett) Inman; m. Alice Childs, 
March 14, 1922; ed. Foxcroft Academy; 
studied music with J. H. Taylor; mem. 
Dover-Foxcroft Band (E flat circular 
horn and E flat bass). Vocation, spin- 
ning dept. American Woolen Mills. 
Address, Box 98, Dover-Foxcroft, Me. 


Address, 


~ 


BIOGRAPHICAL SECTION—1927-1928 All 


Irish, Lewis M., vocalist (tenor); b. Hart- 
ford, Me., May 27, 1879; s. Horace A. 
and Virginia Mason Irish; m. Julia A. 
Jones, June 6, 1906; studied with Otto 
De Scheda; mem. Universalist Church 
Choir and Mechanics Institute, Rum- 
ford; Asst. Treas. Rumford Falls Trust 
Co. Vocation, banker. Summer home, 
Worthley Pond, Peru, Me. Address, 29 
Rumford Ave., Rumford, Me. 


Irish, Luther M., trombonist; b. Hartford, 
Me., May 27, 1879; s. Horace A. and 
Virginia Irish; m. Elizabeth H. With- 
ington, Nov. 30, 1904; studied violin 
with Benjamin Cutter, N. E. Conserva- 
tory; trombone under Thomas P. Holt, 
Fred Harlow, O. Edward Wardwell; 
mem. Merriman’s Band, So. Portland, 
1898; Togus Band, 1899; Payne’s Band 
Lewiston, 1900; Maine Music Festival 
Orchestra, 1900-1-3; Treas. Irish Bros. 
Co. and the Ellingwood Novelty Co.; 
Vice Pres. C. Withington & Sons, Buck- 
field. Vocation, manufacturer. Address, 
Buckfield, Me. 


Jackson, Andrew, vocalist (baritone); b. 
Portland, Me., Feb. 11, 1880; s. Charles 
and Sarah (Young) Jackson; m. Alice 
B. Dow, Nov. 7, 1905; mem. Central 
Square Baptist Church Choir, 15 yrs.; 
formerly with First Baptist Church 
Choir, 2 yrs., and Free St. Baptist, 1 yr.; 
mem. Portland Men’s Singing Club, 
Lions Club, Willowdale Golf Club; Ma- 
sons; Deering Lodge; Woodfords Club. 
Vocation, contractor. Res., 45 Mon- 
trose Ave.; o., 22 Monument Sq., Port- 
land, Me. 


Jackson, Mrs. A. P., m.t. Address, Milli- 
nocket, Me. 


Jackson, Joseph J., Treas. Lewiston-Au- 
burn Festival Chorus. Address, 577 Main 
St., Lewiston, Me. 


Jackson, Julia Heath, teacher of piano; b. 
Bath, Me., 1857; d. John S. and Harriett 
Newell Jackson; ed. Bath and Portland, 
Me.; studied with George W. Marston, 
I. V. Flagler and R. Alice Rich; former 
mem. of the Rossini Club, Portland; 
organist 19 yrs., Elm St. Baptist Church; 
10 yrs., Grace Episcopal; 10 yrs., Wes- 
ley Methodist. Address, 800 High St., 
Bath, Me. 


Jackson, Louise F., pianist, accompanist, 
music teacher; b. Chelsea, Mass., 1873; 
d. William H. and Mary H. Atkinson; 
m. Anson P. Jackson, May 17, 1901; 
studied with Ephraim Cutter, Boston; 
formerly org. at Congregational and 


Unitarian Churches, Chelsea, Mass.; 
org. Cong. Church, Millinocket, Me., 
since 1920; former mem. Handel and 
Haydn Society, Boston, Mass.; Pres. 
Philharmonic Club, Millinocket, Me., 
1922-1923. Address, 91 Highland Ave., 
Millinocket, Me. 


Jameson, Rose Wedgwood, organist, mu- 
sic teacher; d. Dr. and Mrs. John T. 
Wedgwood; m. ‘Harry Preston Jame- 
son; studied piano and harmony with 
George W. Marston, piano with Carl 
Baermann and Edward MacDowell; or- 
ganist Cong. Church; taught music in 
public schools for more than 35 yrs.; 
Pres. Harmonic Club, Cornish. Ad- 
dress, Cornish, Me. 


Jarrett, Florence E., m.t. Address, 136 
Pleasant Ave., Portland, Me. 


Jefferson, Mrs. Annie, m.t. Address, Tur- 
ner, Me. 


Jenkins, Alene Berrie, vocalist (mezzo 
contralto), music teacher; b. Frederic- 
ton, N. B., May 19, 1900; d. Perley S. 
and Dora A. Berrie; m. William H. Jen- 
kins, Sept. 12, 1922; studied piano with 
Mrs. Susie Thomas and Mrs. Helen 
Buck, Houlton; voice with Mrs. J. H. 
Lindsay, Houlton; Minnie Hayden, 
Boston; Theodore Schroeder and A. B. 
Merrill, Boston; soloist, United Military 
St, Baptist Ghurch; org. and dit, ofa 
junior choir of 30 voices; mem. Houlton 
Music Club, 7. yrs.; formerly org. at 
Park Ave. Methodist Church, Somer- 
ville. Vocation, vocal teacher and direc- 
tor. Address, Maple St., Houlton, Me. 

Jenkins, Augusta Marie, organist; b. 
Brewer, Me., June 22, 1892; d. Francis A. 
and Florence A. Brown; m. R. P. Jen- 
kins, Aug. 5, 1914; studied with Grace 
M. Howes; org. First Univ. Church, Ban- 
gor; mem. 1913 Club, Brewer and Schu- 
mann Club, Bangor (Pres. 3 yrs.). Ad- 
dress, 30 Washington St., Brewer, Me. 

Jenney, Dorothy Perkins, teacher of piano; 
b. Brockton, Mass., Sept. 22, 1900; d. 
Edward Lyman and Cordelia Tobey 
Perkins; m. Lewis William Jenney, 
Nov. 7, 1925; grad. N. E. Conservatory 
of Music; studied with Mary Brooks 
Sylvester and Stuart Mason; f. m. Cons. 
Club; former supervisor of public school 
music at Houlton, Me.; mem. Houlton 
Music Club. Address, 32 North St., 
Houlton, Me. 


Jensen, Martin L., clarinettist; mem. 
Deane’s Orchestral Club. Address, 70 
Irving St., Portland, Me. 


412 


MUSIC AND MUSICIANS OF MAINE 


Jewell, Mrs. H. L., music teacher; Pres. 
Festival Chorus. Address, 53 Charles 
St., Bangor, Me. 


Jewett, Mrs. Helen Nason, music teacher; 
b. Kenduskeag, Me., April 17, 1893; d. 
William E. and Nellie L. Nason; m. 
Arno B. Jewett, Aug. 2, 1922; studied 
with Mildred Stone, Boston; mem. choir 
Baptist Church. Address, 397 Ohio St., 
Bangor, Me. 


Johnson, Carl, vocalist; mem. Portland 
Men’s Singing Club. Address, Portland, 
Me. 


Johnson, C. C., cornettist, music teacher. 
Address, 129 Lisbon St., Lewiston, Me. 


Johnson, Mrs. Harold D., pianist; mem. 
MacDowell Club; Cor. Sec. Portland 
Rossini Club. Address, 15 Arlington St., 
Portland, Me. 

Johnson, Harry T., organist; mem. 
Kotzschmar Club. Address, 84 Pine St., 
Portland, Me. 


Johnson, Isa W., m.t. 
Me. 

Johnson, Mrs. Josiah H. (Florence L.), 
vocalist. (contralto soloist) ; mem. Wom- 
en’s Choral Society; Rec. Sec. Portland 
Rossini Club. Address, 59 Ocean Ave., 
Portland, Me. 


Johnson, Mrs. Margaret Wilson, violinist; 
mem. Portland Trio and Philharmonic 
Trio. Address, Portland, Me. 


Johnson, Marguerite Allen, vocalist (so- 
prano), pianist, and teacher; b. Acton, 
Me.; d. Dr. George A. Allen and Linnie 
Allen Bird; m. Ralph Henry Johnson, 
April 27, 1915; ed. Portland-Deering 
High Schools; studied piano with Clara 
Smith Dow, Dora Young, Anne Neily 
and Maine Conservatory of Music; voice 
with Rupert Neily, Jennie King Brag- 
don, Lewellyn B. Cain, Madeline Files 
Bird; mem. Women’s Choral Society, 
Portland Festival Chorus, Rossini Club 
Chorus, Charles Griffes’ Club, Williston 
Choir and Pilgrim Choir. Address, 62 
Main St., So. Paris, Me. 


Johnson, Mrs. Merle H., violinist; mem. 
Portland Rossini Club. Address, 72 
Lawn Ave., Portland, Me. 


Johnson, Ralph H., bass; formerly mem. 
Portland Festival Chorus. Address, 62 
Main St., So. Paris, Me. 

Johnson, Mrs. Rupert G. (Doris Mae 
Thomas), concert and church soloist 


(soprano); d. Alfred Henry Thomas; m. 
Dec., 1925. Address, Standish, Me. 


Address, Carmel, 


Johnson, Mrs. Sumner E., org. Veazie 
Cong. Church. Address, Bangor, Me. 


Johnson, Mrs. Theodore H., honorary 
mem. Portland Rossini Club. Address, 
43 West St., Portland, Me. 

Johnson, Thomas, piccolo; mem. Portland 
Flutist’s Society and Portland Munic- 


ipal Orchestra. Address, 36 Lawn Ave., 
Portland, Me. 


‘Johnston, Harry F., cornettist, teacher; b. 


So. Brewer, Me.; s. Walter C. and Ase- 
neith Johnston; m. Helen McConnell, 
Jan. 1I5, 1919; studied with Prof. F. 
Davis, Boston, and John Bridge; mem. 
Bangor Band, E flat bass; mem. Ameri- 
can Legion, Knights of Pythias; former 
mem. National Guard Band and U. S. 
Band (18 months over seas). Address, 
2 Crosby St., Orono, Me. 


Johnston, Ursula, vocalist; mem. Portland 
Rossini Club. Address, 279 Stevens 
Ave., Portland, Me. 


Jones, Charles F., cellist; mem. Deane’s 
Orchestral Club; formerly mem. Port- 
land Chamber Music Trio and Bee- 
thoven Trio. Vocation, piano tuner. Ad- 
dress, 1 Walker St., Portland, Me. 


Jones, Charlotte, organist. Address, Rock- 
land, Me. 

Jones, Embert L., teacher piano and cello; 
b. Ashland, Mass., Oct. 22, 1857; s. 
George W. and Clarissa Jennings Jones; 
m. Alice F. Richards, Sept. 12, 1896; ed. 
Boston Conservatory; studied with Carl 
Suck and Miss E. Stone; mem. Colonial 
Orchestra, Boston, and Vibro Club, Gor- 
ham; dir. Gorham Men’s Singing Club 
and Colonial Orchestra; Vice Pres., 
Gorham Board of Trade; composer, 
“America the Glorious,” “A Letter from 
Home,” “Maine,” “Hearts and Drums.” 
“Little Lady Rose,” “Dinan, =] fads. 
But Known,” etc. Vocation, artist. Ad- 
dress, 37 School St., Gorham, Me. 


Jones, Ernest L., vocalist (baritone); b. 
Portland, Me., July 19, 1885; s. Sarah J. 
Jones; ed. Kent’s Hill Sem.; studied with 
Dr. Morse; mem. Clark Memorial Church 
Choir; mem. Festival Chorus. Address, 
13 Leonard St., Portland, Me. 

Jones, Gladys St. Clair (see Gladys St. 
Clair Morgan). 

Jones, Isabelle, vocalist. 
Spring St., Portland, Me. 

Jones, Mrs. L. B. (Vena Smith Jones), 
organist, teacher of piano; b. Millville, 
N. B., Oct. 7, 1899; d. Henry By and 
Alice M. Smith; m. L. B. Jones, Feb. 


Address, 178 


BIOGRAPHICAL SECTION—1927-1928 


413 
2, 1921; studied with Mrs. J. E. Robin- Judkins, Florence, Librarian Lewiston- 
son, Prof. Hollis J. Lindsay; formerly Auburn Festival Chorus. Address, Lew- 
org. at Free Baptist, Court St. Baptist; iston, Me. 


org. Methodist Church; former mem. 
Houlton Music Club; mem. Nordica 
Club, Philomathian Club. Address, 7 
High St., Fort Fairfield, Me. 


Jones, Lloyd, vocalist; mem. Bach Choir, 
Bangor. Address, Bangor, Me. 


Jones, Mrs. L. Roland, honorary member 
Philharmonic Club, Auburn-Lewiston. 
Address, Lewiston, Me. 


Jones, Mollie, clarinettist; mem. Portland 
Municipal Orchestra. Address, 25 Rich- 
ardson St., Portland, Me. 


Jones, Sybil, vocalist. Address, Rockland, 
Me. 


Jones, Mrs. William H., pianist. Address, 
178 Spring St., Portland, Me. 


Jordan, Alice M. Bean, vocalist; b. Bethel, 
Me., Dec. 8, 1873; d. Nathan and Rosilla 
Farwell Bean; m. Harry Ernest Jordan, 
Aug. 5, 1900; ed. Gould Academy; mem. 
Maine Music Festival, I901-4; mem. 
Sunset Rebekah Lodge, Bethel, Brown 
Woman’s Relief Corps; Past Pres. Dept. 
of Maine Woman’s Relief Corps. Res., 
Vernon St., Bethel, Me. Mail address, 
P. O. Box 138, Bethel, Me. 


Jordan, Charles Linwood Forrest, drum- 
Mier. 9b, tottingnam, N. H., May 5, 
1860; s. Charles Andrew and Emeline 
Chamberlin Berry Jordan; m. Hattie 
Amanda Cheney, Oct. 29, 1884; ed. pub- 


lic schools, Maine and N. H.; studied 
with Prof. Record, Auburn; mem. 
Maine Centennial Drum Corps; Mana- 


ger and Treas. Keystone Wheel & Rim 
Mfg. Co., Beverly, N. J. Address, 20 
Melbourne St., Portland, Me. 


Jordan, Ervette, mem. Women’s Choral 
Society. Address, 59 Oakdale St., Port- 
land, Me. 


Jordan, Harold, vocalist; mem. Portland 

Men’s Singing Club. Address, Portland, 
e. 

Joslin, Tames Metcalf, vocalist (tenor); b. 
Winchester, Mass., July 11, 1905; s. 
Ralph Edgar and Fannie Davis Joslin; 
ed. Lawrence Academy, Groton, Mass.; 
mem. Epiphany Church of Winchester, 
Mass., Bowdoin College Choir; mem. 
Bowdoin College Glee Club; student. 
DKE House, Brunswick, Me. 


Joy, Clarence, org. Foss St. M. E. Church. 
Address, Biddeford, Me. 

Judelshon, Leah, m.t. Address, 9 Willis 
St., Portland, Me. 


Kahill, Mrs. Joseph B. (Loretto Vincent 
Moran), teacher of piano; b. Portland, 
Me., April 5, 1891; d. James Charles and 
Anna Murphy Moran; m. Joseph B. 
Kahill, artist, April 16, 1912; ed. public 
schools of Portland; studied with James 
A. Bain and Carlo Buonamici; piano 
soloist and accompanist; mem. Marston 
Club (formerly Secretary); priv. mem. 
Portland Rossini Club; mem. MacDow- 
ell Club. Address, 2 Crescent St.) Port- 
land, Me. 

Kalloch, Augusta, Secretary Clef Club, 
Presque Isle. Address, Presque Isle, Me. 


Kane, Anastasia, m.t. Address, 158 Park- 
view Ave., Bangor, Me. 

Kaplan, Tillie, pianist; 
Rossini Club. Address, 
Ave., Portland, Me. 

Kavanagh, Albert L., Pres. Lewiston and 
Auburn Oratorio Chorus. Address, 36 
Lisbon St., Lewiston, Me. 

Keating, Agnes, pianist; priv. mem. Port- 
land Rossini Club. Address, Eastland 
Hotel, Portland, Me. 

Keenan, Katherine Ricker, vocalist (con- 
tralto); b. Falmouth, Me.; d.- Went- 
worth P. and Dorcas Merrill Ricker; m. 
Matthew Thomas Keenan, April 10, 
1920; ed. Westbrook Seminary; studied 
with Charles R. Adams, Mme. Long, 
William Whitney, Elizabeth Reed, Max 
Heinrich and Olivieri, Boston, William 
H. Dennett, Portland, Vannucini, Ran- 
degger, Europe; mem. State St. Church 
Choir, Portland; formerly mem. of the 
choirs of the Williston and Second Par- 
ish Churches, Portland, Central Cong., 
Boston, for many years; has appeared 
as soloist with Handel and Haydn So- 
ciety, Cecilia Society, Boston, and Maine 
Music Festival and Oratorio Societies 
in New England and Canada; was one 
of two singers who received diplomas of 
honor at World’s Fair, Chicago, in 1893; 
mem. Rossini Club, Portland, Profes- 
sional Women’s Club, Boston; former 
mem. Choral Art, Cecilia Society, Mc- 
Dowell, Thursday Morning Musicales 
and Music Lovers Clubs, Boston; chair- 
man, Music Committee Professional 
Women’s Club, Boston. Address, R. F. 
D. No. 5, Woodfords, Me. 

Keene, Abdon Wilder, teacher, conductor; 
b. Appleton, Me.; s. Galen and Stativa 
(Sprague) Keene; ed. N. E. Conserva- 


mem. Portland 
1 Cumberland 


414 MUSIC AND MUSICIANS OF MAINE 


MAY KORB, LYRIC COLORATURA SOPRANO. PHOTO 
BY APEDA, NEW YORK. 


tory, Boston, class of 1880, and at Bos- 
ton University College of Music, class 
of 1883 (diplomas in singing, harmony, 
theory, counterpoint, art of conducting, 
history, aesthetics, composition, with 
voice as leading study); studied with 
John O'Neill, Stephen A. Emery, Wil- 
liam F. Apthorp, Carl Zerrahn; mem. of 
Faculty of N. E. Conservatory 12 yrs., 
and later taught voice, harmony, counter- 
point, etc., privately in Boston; con- 
ductor Keene, N. H., Choral Union, 
Boston Mendelssohn Club, etc.; organ- 
ized the Bromfield Choir and conducted 
same II yrs.; mem. board of Trustees 
N. E. Conservatory 5 yrs. Address, 
Camden, Me. 


Keene, Frances M., m.t. Address, 39 
Fourth St., Bangor, Me. 


Kelley, Mrs. Helen S., teacher of violin; b. 
Wiscasset, Me.; d. Charles B. and Lu- 
etta Southard Seekins; m. Capt. William 
Kelley, 1911; studied piano with Prof. 
Kimball; violin with David Fisher, Kel- 
ler Studio, Boston, and with Harriet 
Schreyer; concertmaster Portland Or- 
chestral Society, 3 yrs.; mem. Rossini 


Ensemble. Vocation, professional vio- 
linist. Address, 54 Clifton St., Portland, 
Me 


Kelly, Marion Adelia, pianist; music — 
teacher; b. Westbrook, Me., July 27, — 


1906; d. James M. and Jennie L. Kelly; 


ed. Westbrook Seminary; studied with — 


Howard W. Clark and Arthur Roundy; 
mem. Warren Cong. Church Choir, 


Schubert Quartette; Rossini Club, Cho- © 


pin Club of Westbrook, and Marston 
Club, Portland. Address, 57 Morton St., 
Cumberland Mills, Me. 


Kemball, Harold V., form. mem. Kotzsch- 


mar Club. Vocation, music dealer. Ad- 
dress, 169 Brentwood St., Portland, Me. 


Kendall, Arthur Franklin, musical direc- 
tor, teacher of piano; b. Auburn, Me., 
Aug. 31, 1894; s. Thomas F. and Minnie — 


K. Kendall; ed. Rumford High School; 


m. Marion F. Woodbury, May 15, 10433) 


formerly employed Tainter’s Music 
Store; musician U. S. Soldiers’ Home 


Band, Washington, D. C.; leader Em-. 


pire Theatre Orchestra, Portland; stud- 
ied in Coblenz, Germany; musical direc- 
tor, Strand Symphony Orchestra and 


Portland Orchestral Society. Res., 13 — 


the St.; o., 565 Congress St., Portland, 
e 


Kendall, J. A., music teacher, violinist. 


Address, Skowhegan, Me. 


Kennedy, Annie S., teacher of piano; b. 
Jefferson, Me., June 25, 1877; d. Samuel 


H. and Clara B. Kennedy; ed. at Jeffer- 
son, Me.; studied with Hannah Bond, 
Annie Sanborn, Mrs. Bennett and La- 
tham True; org., Methodist Episcopal 
Church, Brunswick. Address, 11 McLel- 
lan St., Brunswick, Me. 


Kennedy, Frederic, concert singer, vocal- 


ist (tenor); b. Portland, Me., July 29. 


1879; s. William H. and Ella Perry Ken-— 
nedy; m. Marion Jewell, June 12, 1905; 


ed. Portland, Me.; studied with L. B. 
Cain, Portland, Stephen Townsend, 
Boston, John D. Meehan and Oscar 
Saenger, N. Y.; soloist 2 yrs. Maine 
Music Festival; twice toured the U. S. 
singing in all but four states of the 
Union; mem. State St. Church Choir, 
Portland, and Henry H. Rogers Me- 


morial Church Choir, Fairhaven, Mass.; — 
former mem. Choral Art Society, Fes- 


tival Chorus, Kotzschmar Club and 
Portland Men’s Singing Club. Address, 
Box 33, Wellesley, Mass. 


Kennedy, Herbert S., vocalist (tenor); 


mem. Portland Men’s Singing Club. Ad- 
dress, 469 Summer St., So. Portland, Me. 


BIOGRAPHICAL SECTION—1927-1928 


415 


Kennedy, Jane, viola; mem. Portland Mu- 
nicipal Orchestra. Address, Eastland 
Hotel, Portland, Me. 


Kenney, Mrs. Clara A., teacher of piano; 
b. Portland, Me., Nov. 26, 1865; d. Wil- 
liam P. and Sarah Lucy Evans; m. Wil- 
liam A. Kenney, July 17, 1884; ed. South 
Portland, Me.; studied with Hattie Fick- 
ett. Address, 32 Forest Ave., So. Port- 
land, Me. 


Kenworthy, Mrs. W. H., vocalist (contral- 
to); mem. South Parish Cong. Church 
Choir. Address, Augusta, Me. 

Kerr, Lena, organist, vocalist (soprano); 
b. Oakland, Me., Oct. 26, 1892; d. Davis 
A. and Susie E. Kerr; ed. Oakland High 
School; studied piano with Nora Bartlett 
Greeley and Mrs. H. L. Hunton of Oak- 
land, Fred L. Hill, Portland, Christine 
Daggett, Waterville; pipe organ with 
Cecil Daggett, Waterville; mem. Water- 
ville Festival Chorus. Vocation, school 
teacher. Address, Oakland, Me. 


Kidney, Mrs. Fred., m.t. Address, Cari- 
bou, Me. 

Kilbourn, Mrs. Scott Lesley (Pearl Fran- 
ces Cook), teacher of piano, accompan- 
ist; b. Norway, Me., Oct. 21, 1891; d. 
Almon L. and Geneva A. Cook; m. 
Scott Lesley Kilbourn; ed. Virgil Clavier 
School, Portland; studied with Prof. 
Frank L. Rankin. Address, 60 Pleasant 
St., Norway, Me. 

Kimball, Alice A., vocal teacher. Address, 
Presque Isle, Me. 


Kimball, Kathleen, m.t. Address, Fort 
Fairfield, Me. 
Kirkpatrick, Herbert Earl, instructor, 


bandmaster; b. So. Thomaston, Me., April 
26, 1889; s. Adam C. and Minnie Burns 
Kirkpatrick; m. Adella Townsend Gil- 
more, June 4, 1923; ed. public schools and 
business college, Rockland, Me.; became 
mem. 56th P. Inf. Band, 1917; army rat- 
ing, Ist class musician, band sergeant and 
later sgt. bugler; saw service in France 
and in the Army of Occupation, Ger- 
many ; played trumpet in City Opera 
House, Waterville, 1919-25; opened a 
studio in Rockland, Me., in 1926, teaching 
trumpet, cornet and saxophone; instruc- 
tor Rockland Boys’ Band; conductor 
Rockland City Band; owner and manager 
Kirk’s Orchestra; mem. Am. Legion, 
Williams Brasier Post, No. 37, A. F. of 
M., 735, Waterville, Me.; orchestra and 
band arranger. Vocation, musician. Res., 
58 Main St., Thomaston, Me. Studio, 280 
Main St., Rockland, Me. 


HUMPERDINCK’S OPERA 
PHOTO BY KENNEDY, 


MAY KORB, AS GRETEL IN 
“STANSEL AND GRETEL.” 
PORTLAND. 


Kittredge, Joseph, leader Smith’s Vinal- 
haven Band. Address, Vinalhaven, Me. 


Knapp, Frank, trumpet; mem. Portland 
Municipal Orchestra. Address, 547a 
Congress St., Portland, Me. 


Knight, Dorothy, school music supervi- 
sor. Address, So. Berwick, Me. 


Knight, Florence (see Florence Knight 
Palmer). . 


Knight, Leland W., mem. Warren Male 
Quartette. Address, Westbrook, Me. 
Knight, Phyllis, viola; mem. Portland 
Municipal Orchestra. Address, 92 Pitt 

St., Portland, Me. 


Knight, Ralph E., bass viol.; mem. Port- 
land Orchestral Society, Deane’s Or- 
chestral Society, Portland Municipal 
Orchestra. Res., Yarmouthville, Me. 
Office, 534 Congress St., Portland, Me. 

Knowles, Edna, m.t. Address, Fort Fair- 
field, Me. 

Knowles, Ethel May, vocalist (soprano), 
organist, school music’ supervisor; b. 
Shirley, Me.; d. James M. and Abbie A. 
Knowles; ed. Foxcroft Academy; stud- 
ied piano with Nettie M. Blethen, Dov- 
er-Foxcroft, Prof. Kimball, Portland, 


416 MUSIC AND MUSICIANS OF MAINE 


and Arthur J. Bassett, Worcester, Mass.; 
pipe organ with Henry Dunham and at 
N. E. Conservatory; voice with Mrs. B. 
Dinsmore, Dover-Foxcroft, Sarah Peaks, 
Bangor, Madame Antonia Sawyer, N. 
Y., and M. Bell Moore, Boston, Mass.; 
public school music with Samuel Cole, 
N. E. Conservatory, and American In- 
stitute Normal Methods, Boston, Mass. 
Address, Dover-Foxcroft, Me. 


Knowles, Mrs. Eva M., m.t. Address, 41 
Veranda St., Portland, Me. 


Korb, May, concert artist (lyric colora- 
tura soprano); b. Newark, N. J.;.d. Ben- 
jamin J and Alma E. Korb; m. Charles 
Raymond Cronham, May 28, 1925; ed. 
public and private schools and language 
tutors; studied with Marcella Sembrich 
(voice) and piano with Frederic Bau- 
mann; formerly solo soprano at So. 
Park Pres. Church, Newark; mem. Port- 
land Rossini Club; guest artist with San 
Carlo Opera Co., 1925-26; Hansel and 
Gretel Opera Co., 1926-27. Address, 
Portland, Me. 


Korda, Anna Miller, teacher of piano, cel- 
list; b. Portland, Me., March 14, 1899; 
d. Andrew and Amelia Thorsager Mil- 
ler; m. Joseph Korda, July 15, 1918; ed. 
Portland, Me.; studied with Dr. Latham 
True, Sonya Michel, Leo Schulz; mem. 
Rossini Club, Eastern Star, Marston 
Club, MacDowell Club; cellist in Port- 
land Trio. Res., 194 Massachusetts Ave., 
Portland, Me. 


Korda, Joseph, bandmaster, cellist; b. 
Poland, Europe, Aug. 28, 1888; s. Frank 
and Mary Korda; m. Anna Miller, July 
15, 1918; ed. St. Stanislaus School, Buf- 
falo, N. Y.; studied with Leo Schulz, 
Dr. Latham True, Albert Stoessel, 
Francis Casadesus, and Pillois; Mason; 
composer, Polish Dance, Cradle Song 
and Romance; former mem. Kotzsch- 
mar Club, Beethoven Trio; former Lieu- 
tenant, Bandmaster, U. S. Army. Mu- 
sic instructor at N. Y. M. A., bandmas- 
ter Nat. Soldiers’ Home, Togus, Me. 
Res., 194 Massachusetts Ave., Portland; 
mail address, Togus, Me. 


Koster, Ruth, soprano soloist. 
Rockland, Me. 


Kotzschmar, Mary Ann, teacher of piano; 
b. Sacramento, Cal., Dec. 16, 1853; d 
Midian and Mary Ann Griffin Torrey; 
m. Hermann Kotzschmar, Dec. 16, 1872; 
ed. The Misses Prince’s Home Institute, 
Portland, Me.; studied with Hermann 
Kotzschmar and Mr. and Mrs. A. K. 


Address, 


Virgil; mem. Rossini Club and Haydn 
Asso., Portland, Me.; author, “Half 
Hour Lessons in Music” and a number 
of short stories for Ladies’ Home Jour- 
nal. Address, 88 Pintard Ave., New — 
Rochelle, N. Y. 

Kriger, Elizabeth, concert artist (lyric so- 
prano) and music teacher; b. Portland, 
Me.; d. Joseph Henry and Ida Davis 
Kriger; ed. Sterns Conservatory of Mu- 
sic, Berlin; studied with Josephine Mc- 
Faul, Henrietta Rice, David Bispham, 
William Thorner, Prof. Hettisch, Prof. 
Bachner, Frau Mattha Kierda, Berlin; 
mem. Musical Optimiste Club; formerly 
mem. Rossini Club. Address, 149 West 
s7th St., New York. Citval Res. 270 
Cumberland Ave., Portland, Me. 

Kriger, Gertrude Seiger, vocalist; b. New 
York City, Jan. 2, 1902; d. Samuel and 
Mamie Seiger; m. Lewis H. Kriger, 
June 16, 1925; studied with Henrietta D. 
Rice, Portland, Frederick E. Bristol, N. 
Y. Address, 42 Noyes St., Portland, Me. 


Kyes, Aroline Treat, vocalist (soprano); 
librarian, Portland Festival Chorus. Ad- 
dress, 185 Clark St., Portland, Me. 


Ladd, Bernard Everett, instrumentalist 
(French horn); b. Island Pond, Vt., 
Feb. .22, 1891; s. H. J. and May ada: 
studied with F. J. Rigby; mem. 1o3rd 
Infantry Band and Rumford Symphony 
Orchestra. Vocation, piano tuner. Ad- 
dress, 122 Penobscot St., Rumford, Me. 


Lafond, Dr. L. Raoul, Pres. L’Orpheon, 
Whe Address, Lisbon St., Lewiston, 


e. 

Lahar, Edward, mem. Temple Quartette. 
Address; Kennebunk, Me. 

Laird, Alice Curtis, vocalist, soloist (so- — 
prano); b. Portland, Me., Nov. 22, 1882; 
d. Gustavus H. and Flora Stinson Curtis; 
m. George E. Laird, Dec. 18, 1912; stud- 
ied with L. B. Cain, Stephen Townsend 
and Rupert Neily; mem. Portland Ros- 
sini Club; mem. Congress Sq. Univ. — 
Church Choir. Summer home, Lake © 
Grove, Auburn, Me. Address, 24 Morn- 
ing St., Portland, Me. 

Laite, H. Whitefield, baritone soloist; b. 
Portland, Me.; studied with Frank Le 
Farge, N. Y., made debut in Chicago 
Opera Co. as Silvio in Pagliacci, 1919; 
formerly soloist, Church of St. John the 
Baptist, N. Y.; soloist with Gilman’s 
Band. Address, Portland, Me. ~ 


‘Lamb, Albert E., vocalist (tenor); mem. ; 


choir So. Parish Cong. Church. Address, — 
Augusta, Me. 


BIOGRAPHICAL SECTION —1927-1928 


417 


ee 


Lamb, Avis, vocalist (soprano); mem. 
MacDowell Club, Portland Polyphonic 
Society, Portland Rossini Club. Ad- 
dress, 298 Pine St., So. Portland, Me. 


Lamb, Frank M., vocalist, soloist (tenor) ; 
b. Poland, Me., Jan. 30, 1858; s. Alonzo 
P. and Lucinda Hackett Lamb; m. Mary 
A. Bonney, Nov. 29, 1882; studied with 
W. J. Winch and Charles R. Adams, 
Boston; mem. choir old Hampshire St. 
Church, High St. M. E. and High St. 
Cong., Auburn; composer, “The Bird 
with a Broken Wing,” “In the Crimson 
Blush of Morning,” “A Dying Chris- 
tian,” ‘““Weary Not,” etc.; has been song 
leader and soloist in more than 100 
evangelistic campaigns in 14 states and 
2 maritime provinces; mem. Mendel- 
ssohn Club in the early eighties. Clergy- 
man since April, 1888. Address, Me- 
chanic Falls, Me. 


Lamb, Mabel Frances, organist and 
teacher of piano; b. Rockland, Me., Jan. 
14, 1880; d. Franklin D. and Adeline P. 
Lamb; ed. Rockland Commercial Col- 
lege and graduate Rockland High 
School; studied with Alice Black, Mar- 
garet Stahl, Mrs. Carrie Burpee Shaw, 
Mrs. Effa Ellis Perfield, N. Y.; org. 
Episcopal Church, Rockland, 3 yrs., 
Methodist Church, Thomaston, 2 yrs.; 
sub. org. Universalist Church, Rock- 
land; mem. Chapin Class, Universalist 
Church; Sec. Shakespeare Society, 4 
yrs.; Sec. Rubinstein Club, 3 yrs.; for- 
mer mem. Wight Philharmonic Society, 
1s yrs. Address, 100 Limerock St. 
Rockland, Me. 


Lamb, Myron U., instrumentalist (piano. 


and bassoon); b. Portland, Me., May 29, 
1900; s. Freeman K. and Gertrude V. 
Lamb; ed. Portland, Me., and Brown 
University; studied piano with Gertrude 
Buxton, Howard Clark, and bassoon 
with A. Laus of the Boston Symphony 
Orch.; studied landscape architecture at 
Harvard 2 yrs. after teaching at Brown 
Univ. I yr.; at present studying piano 
with Mrs. Frances L. Grover, Boston, 
and theory with Nicolas Slonimsky, 
Boston; mem. Brown Univ. Orch. and 
Kappa Sigma Fraternity. Address, 118 
Brentwood St., Portland, Me. 


Lambert, Edward, trombonist; b. Au- 
gusta, Me., Aug. 17, 1898; s. Thomas 
and Josephine Bougie Lambert; m. 
Madaline Laflamme, May 14, 1923; ed. 
Augusta, Me.; studied with Ernest R. 
Hill; mem. Military and Cadet Band, 


Augusta, and Augusta Symphony Or- 
chestra; mem. the Artisans. Vocation, 
painter. Address, 74 Northern Ave., 
Augusta, Me. 


Laming, Henry G., vocalist, baritone*solo- 
ist; mem. Portland Festival Chorus. 
Address, 14 Cherry St., Portland, Me. 


Lamont, Fred C., vocalist; 2nd tenor Aca- 
cia Quartette, Portland, Me. Address, 
Portland, Maine. 


Landry, Achille C., teacher of violin; b. 
Biddeford, Me.; s. Joseph and Melina 
Gendron Landry; studied with Jacques 
Hoffman, Boston. Address, 18 Graham 
St., Biddeford, Me. 


Landry, Arthur B., vocalist (bass); b. 
Westbrook, Me., July 9, 1891; s. Peter 
Benjamin and Clara Landry; ed. West- 
brook, Me.; studied with D. McCarthy, 
Lewiston, Me.; Sec. Orpheon Musical 
Society; musical dir. Musical Literary 
Club; Sec. Cercle Canadian Club; mem. 
Artisans Fraternal Society and Alliance 
Francaise of N. Y.; soloist in ‘Fra Dia- 
volo, oH.» M.2S,,Pinafore;” “Faust,” 
“Olivette,” “Mascot,” “La Fille de Ma- 
dame Angot,” “Rigoletto,” and “Romeo 
and Juliet” in Lewiston, Me. Address, 
248 Park St., Lewiston, Me. 


Landry, Mrs. G. E., m.t.; mem. Festival 
Chorus, 20 yrs. Address, Old Town, Me. 


Lane, Albert A., organist; studied with 
Grace B. Howes; org. 2nd Baptist Churcin, 
Bangor; theatre pianist Old Town. Ad- 
dress, Bangor, Me. 

Lane, Alice Frye, teacher piano and or- 
gan; b. Rockland, Me.; d. George A. 
and Adel Spear Frye; m. Oscar C. Lane; 
ed. Vinalhaven, Me.; studied with Carrie 
Burpee Shaw, Rockland, Me.; organist 
for several years, Union Church, Vinal- 
haven; Past Matron, Marguerite Chap- 
ter, Order Eastern Star, Vinalhaven. 
Address, Box 308, Vinalhaven, Me. 


Lane, Emma, m.t. Address, Patten, Me. 


Lane, Lucy Mitchell, vocalist (alto); b. 
Leeds, Me., Sept. 16, 1861; d. Orson and 
Viora G. Lane; ed. Normal Training 
School; studied with Mrs. Ada Wiggin, 
John J. Turner, Madame De Angelis, 
Warren Davenport, Boston; mem. An- 
droscoggin Musical Society, Spinet 
Club, Maine Music Festival, Alpha La- 
dies Quartette, Philharmonic Club. Vo- — 
cation, public school teacher. Address, 
794 Warren Ave., Brockton, Mass. 


Lane, Maurice Elton, bandsman; b. Stan- 
dish, Me., Oct. 1, 1909; s. Perce E. and 


418 MUSIC AND MUSICIANS OF MAINE 


Grace E. Lane; studied with Frank J. 
Rigby; mem. Portland Municipal Or- 
chestra (clarinet, saxophone); mem. 
240th Nat. Guard and Rigby’s Band; 
mem. I. O. O. F. Vocation, clerk and 
musician. Address, 308 Allen Ave., Port- 
land, Me. 


Lane, Mrs. Merton A. (Ida M. Thomp- 


son), vocalist (soprano); b. Portland, . 


Me., May 18, 1879; d. Neal C. and Anna 
Stevens Thompson; m. Merton A. Lane, 
Oct. 27, 1897; ed. Curry School of 
Spoken Word, Boston, Columbia and 
Baker Summer Schools; studied with 
Edgar Paine, Evangeline Pearson, Mes- 
dames Hawes and Curry; mem. Wo- 
men’s Literary Union, League of Women 
Voters, Lincoln Club, Daughters of 
Union Veterans, Sons of V. Aux., 
Thatcher Corps; Past Pres. Portland 
Society of Arts and Crafts; former mem. 
Portland Festival Chorus, 15 yrs.; has 
sung leading parts in amateur operas. 
Address, 30 Devonshire St., Portland, 
Me. 

Lane, Oscar C., soloist (bass); b. Vinal- 
haven, Me.; s. William S. and Mercy 
(Delano) Lane; m. G. Alice Frye; ed. 
Vinalhaven, Me.; studied with T. L. 
Roberts, Utica, N. Y.; mem. Smith’s 
Vinalhaven Band (trap drummer); Ma- 
son, Odd Fellow; Past Commander of 
De Valois Commandery, Knights Tem- 
plar, Past Master of Moses Webster 
Lodge, F. and A. M., Past Patron of 
Marguerite Chapter Order of Eastern 
hee Address, Box 308, Vinalhaven, 

e. 
Lane, Robert, violinist; mem. Portland 


Municipal Orchestra. Address, 144 Clif- . 


ford St., So. Portland, Me. 


Langlais, Charles J., violinist. 
Old Town, Me. 


Address, 


Langlois, Charles C., music teacher. Ad- 


dress, 187 College Ave., Waterville, Me. 
Langman, Sylvia, m.t. Address, Camden, 
Me. 


Lanterman, Ethel Leemon, vocalist (so- 
prano); b. Portland, Me., Nov. 2, 1893; 
d. Charles G. and Abbie G. Leemon; m. 
Lester C. Lanterman, June 26, 1922; ed. 
Portland, Me.; studied with Elizabeth 
Brown; Past Pres. Marston Club; mem. 
Ladies’ Aria Quartette; student mem. 
Rossini Club; soloist Sacred Heart 
Church, Portland. Address, Wadsworth 
Apt. 38, Portland, Me. 


Lapointe, Lelia, m.t. Address, Livermore 
Falls, Me. 


Larrabee, Myrta Skillings, vocalist (so- — 
prano); b. Gray, Me., Sept. 25, 1875; d. © 
Benjamin F, and Ellen Libby Skillings; — 
m. George H. Larrabee, Aug. 15, 1805; © 
studied with Mrs. O. H. Fellows, Wm, — 
H. Dennett, Portland, and Sara Peakes, 
Bangor; formerly mem. executive com- 
mittee Bangor Festival Chorus; Pres, 
Schumann Club, Bangor, 1914; mem. 
Haydn Asso., Portland, Haydn Society, 
and Cary Quartette, Damariscotta, ~ 
Schumann Club, Bangor, Bangor Festi- 
val Chorus and Portland Festival 
Chorus. Address, 37 Orkney St., Port-— 
land, Me. .- 


Latham, Thelma, viola; mem. Portland 
Municipal Orchestra. Address, 249 Con- 
cord St., Portland, Me. 7 


Laughton, Edith (see Edith L. Bradford). 


Lauzier, Mrs. Aline, m.t. Address, 52 
Birch St., Biddeford, Me. 


Lavallie, F. X., choir dir. Address, Old 
Town, Me. 3 
Laverty, Mildred I., m.t. Address, 85. 
Myrtle St., Westbrook, Me. 7 


Lavigne, Fred J., leader Sanford Mills 
Band. Address, Sanford, Me. 4 


Lawrence, Harold M., solo flutist; mem. 
Portland Orchestral Soc. and Portland 
Flutists’ Society. Address, 80 Whitney 
Ave., Portland, Me. 


Leach, Mrs. Gilbert, m.t. Address, Cas- 
tine, Me. 


Leach, Sadie E., m.t. Address, 51 No. 
Main St., Rockland, Me. 


Leavitt, Ada I., teacher of piano; b. Weld, 
Me.; d. Brooks D. and Mary H. Russell; 
m. William N. Leavitt, Feb. 9, 1873; ed. 
Wilton Academy, Wilton, Me.; studied 
with L. W. Ballard, Lewiston, Me.; or-— 
ne M. E. Church. Address, Wilton, — 

e. a 

Lebeau, Alpaida, m.t. Address, 213 Pine © 
St., Lewiston, Me. 

Leblond, Armaline, m.t. 
Third St., Auburn, Me. 


Lee, Ethel M., vocalist (contralto); b.— 
Dark Harbor, Me., Jan. 31, 10037 dm 
Frederick A. and Caro E. Lee; ed. Maine 
Central Institute and N. E. Conserva- 
tory; studied with Henry Goodrich and 
U. U. Hubbard; mem. choir M. E. 
Church. Vocation, supervisor of public 
school music. Address, 124 Kennebec 
St., Waterville, Me. in 


Leech, Clara Avis, vocalist (soprano); b.. 
Everett, Mass., Aug. 16, 1900; d. Fred 


’ 


Address, 104 


BIOGRAPHICAL SECTION—1927-1928 419 


Howard and Avis Richardson Leech; 
ed. Oakland, Me.; studied with Frances 
Cote, P. A. A. Killam, Alice Manter; 
mem. First Baptist Church Choir and 
Oakland Community Chorus. Vocation, 
stenographer. Summer home, Lakeside, 
Me. Address, Church St., Oakland, Me. 


Leech, Fred Howard, vocalist (tenor); b. 
Chicopee, Mass., June 2, 1866; s. George 
C. and Julis E. Leech; m. Avis Richard- 
son Bickford, Nov. 20, 1889; ed. Somer- 
ville and Everett, Mass.; studied with 
Josiah Kingman, H. O. Chelius and P. 
A. A. Killam; mem. Oakland Commu- 
nity Chorus and Oakland Festival Cho- 
rus, 1917-20; mem. First Baptist Church 
Choir, Oakland; Sec. Sons of Veterans; 
Pres. Red Cross Society; Commander 
ieee ee cr, CC, Vocation, salesman. 
Summer home, Lakeside, Me. Address, 
Church St., Oakland, Me. 


Leen, Hazel Perry, soloist, violinist; b. 
Sherman, Me., 1900; d. Byron and Kath- 
erine Perry; m. Frederick Leen, Sept. 8, 
1920; ed. Ricker Classical Institute; 
studied with Prof. Lindsay and Faelten 
Pianoforte School; mem. St. Martin of 
Tours Church Choir; mem. Philhar- 
monic Club. Res., Congress St., Milli- 
nocket, Me. 


Leighton, Clifford E., teacher of mandolin 
and banjo, soloist; b. West Falmouth, 
mes july 7, 1882; s. Addison G. and 
Sarah W. De Creney Leighton; Sec. and 
Treas. Serenaders; mem. Elite Mando- 
lin Orchestra and I. O. O. F.; composer, 
“Bayside Gavotte,” “Echoes of Glad- 
ness,” “National Guard,” “Fraternity 
March,” “Golden Sunset,” “Hill Top 
March,” “Moonlight Gavotte,’ “The 
Huntsman’s March,” etc. Studio, 5484 
Congress St., Portland, Me. 


Been Edith, m.t. Address, Milbridge, 
e. 


Leighton, Ralph W., vocalist (baritone); 
mem. Portland Men’s Singing Club. 
Address, Adelbert St., So. Portland, Me. 


Lenfest, Effie, Sec.-Treas. Old Town Fes- 
tival Chorus. Address, Old Town, Me. 


Leonard, Mrs. Helen Spearin, vocalist 
(alto); mem. Schumann Club, Bangor. 
Address, Bangor, Me. 

Leonard, Leroy E., vocalist (tenor); mem. 
Portland Men’s Singing Club; mem. 
Knickerbocker Male Quartette. Ad- 
dress, 200 Park Ave., Portland, Me. 

Leonard, Paul H., m.t. Address, 68 Church 
St., Brewer, Me. 


Lepine, Raoul, pianist; b. Biddeford, Me., 
Dec. 19, 1899; s. Eugene and Marie 
Louise Lavallee Lepine; ed. Biddeford, 
Me.; studied piano with Prof. E. Clarke, 
Biddeford, Edward Collins; harmony, 
counterpoint and composition with Har- 
old B. Maryott, Felix Borowski and 
Louis V. Saar; grad. Musical College of 
Chicago, Ill.; composer, instrumental 
and technical ‘studies. Vocation, teacher 
of piano, harmony, composition. Ad- 
dress, 12 King St., Biddeford, Me. 


LeProhon, Florence Best, teacher of piano; 
b. Westbrook, Me.; d. John L. and 
Mary Bean Best; m. Ernest de B. Le- 
Prohon, June 3, 1917; ed. Portland, Me.; 
studied with Frank Rankin, Carl Baer- 
mann, Boston, and Virgil Piano School, 
N. Y.; mem. U. L. U., Columbian League 
Arts and Crafts and Brush and Thimble 
Club. Address, Portland, Me. 


Lesieur, Simonne, pianist; mem. Portland 
Rossini Club. Address, Biddeford, Me. 


Levasseur, Pauline V., vocalist; b. Ash- 
land, Me., Sept. 5, 1906; d. William I. 
and Sophie LeVasseur; studied with 
Cecil Fisher; mem. choir St. Dennis 
Catholic Church, Fort Fairfield, Me. 
Address, 26 Blaine St., Fort Fairfield. 
Me. 


Levi, Thomas Anthony, instrumentalist 
(saxophone); b. Lewiston, Me., March 
13, 1900; s. Stephen and Agnes Berzoti 
Levi; ed. Rumford, Me.; studied with 
C. M. Dexter and A. E. Manetee; mem. 
to3rd Me. Infantry Band, Rumford, 
Me.; Pres. Lithuanian and Citizens 
Club; mem. L. O. O. M., Rumford Lo- 
cal 1136, American Federation of Musi- 
cians. Vocation, millworker. Address, 
215 Franklin St., Rumford, Me. 


Lewis, Charles Russell, vocalist (tenor); 
b. Boothbay, Jan. 27, 1857; s. Russell 
and Mary (Hodgdon) Lewis; m. Helen 
A. Dennison, Sept. 20, 1879; mem. Maine 
Festival Chorus (28-¥rs.),.1..O,.0°2 F., 
Portland Club, Rep. to Leg., overseer of 
the poor. Transportation business with 
Portland Steamship Co., Eastern Steam- 
ship Co. Res., Cumberland, Me.; o., 
State Pier, Portland, Me. 


Lewis, Ella, m.t. Address, Steuben, Me. 
Lewis, Helen L., pianist; priv. mem. Port- 


land Rossini Club. Address, R. F. D. 
No. 4, Portland, Me. 


Lewis, Richard E., organist, music teacher. 
Address, 565 Congress St., Portland, 
Me. 


420 


Lewis, William J., choir dir. First M. E. 
Church, So. Portland. Address, 263 
Lincoln St., So. Portland, Me. 


Libbey, Mrs. C. T., m.t. Address, New- 
port, Me 

Libbey, Harry W., vocalist (baritone) ; so- 
loist Bangor Festival; choir singer; Di- 
rector Eastern Maine Musical Asso. Ad- 
dress, Bangor, Me. 


Libby, Beatrice Elizabeth, pane b. Lew- 
iston, Me., Sept. 27, 1906; d. J. Milton 
and Martha Day Libby; ed. Bates Col- 
lege; studied piano with Florence E. 
Wells; mem. Lewiston-Auburn Sym- 
phony Orchestra (bass viol); mem. 
Bates Orphic Society. Address, 204 
Webster St., Lewiston, Me. 


Libby, Florence Haskins, teacher of piano; 
b. Portland, Me., March to0, 1886; d. 
Thomas Lancaster and Cora Jordan 
Libby; ed. Portland, Me., and Berlin, 
Germany; studied with Dr. Latham 
True, Prof. Stuart Mason,and Prof. Mar- 
tin Krause; mem. MacDowell Club and 
Portland Rossini Club. Address, 655 
Congress St., Portland, Me. 

Libby, Mrs. Frances A., m.t. 
St., Portland, Me. 

Libby, Isabel, Pres. Biddeford-Saco Fes- 
tival Chorus. Address, Biddeford, Me. 


Libby, Lucien P., organist. Address, 22 
Bramhall St., Portland, Me. 


14 Sawyer 


Libby, Mrs. Lucile, honorary member 
Harmony Club, Lincoln. Address, Lin- 
coln, Me. 


Libby, Ruth S., school music supervisor. 
Address, So. Portland, Me. 


Lindsey, Evelyn Cole, organist and accom- 
panist; b. East Machias, Me., May 20, 
1902; d. Everett C. and Mary Dyer 
Lindsey; ed. Washington Academy, 
East Machias; studied with Sarah San- 
born De Merritt; organist Baptist 
Church, East Machias; Pres. Pathfinder 
Club. Address, East Machias, Me. 


Linnell, William Shepherd, chairman Port- 
land Music Commission since 1920; b. 
Biddeford, Me., July 21, 1885; s. William 
F, and Sarah Shepherd Linnell; m. Jes- 
sie E. Hopkinson, Nov. 12, 1912; ed. pub- 
lic schools, Saco, Me., Thornton Acad- 
emy, Saco, Bowdoin College and George 
Washington Univ. Law School. Voca- 
tion, lawyer. Address, 81 Brighton Ave., 
Portland, Me. Office, 188 Middle St., 
Portland, Me. 


Linscott, Walter Leslie, music supervisor, 


Lipsky, Arthur Arnold, instrumentalist — 


Litchfield, Alice Percy, musician; b. Bath, 


Litchfield, Elizabeth M., teacher of piano; ‘ 


te Millie Parker, piano soloist daa 


vocal teacher; b. Hancock, Oct. 9, 1882; 
s. Charles C. and Eva Estelle (Duns- ; 
more) Linscott; ed. Coburn Classical — 
Institute, University of Bishops Col- — 
lege; studied voice with Mrs. Hubbard, — 
Waterville, J. Francis MacNichol of 
Augusta, L. B. Cain of Portland, Fred- — 
eric Bristol of N. Y.; m. Hazael Foster, 
Jan. 26, 1908; mem. and for 2 yrs. Pres. 
Musical Colony, Harrison, Me.; Prin. | 
Searsport High School, New Sharon 
High School, Powers Inst. of Mass., — 
Ashland High School; baritone soloist 
and conductor; produced operas “Faust,” 
“Rigoletto,” “Bohemian Girl” and “Ty | 
Trovatore”’ many times in Maine and 
Mass.; mem. Bristolian Trio (the other 
members being Charles Harrison, Ha- — 
zael Linscott); Mason, Shrine. Res., 12 

Rockwood Ave., Bar Harbor, Me. q 


MUSIC AND MUSICIANS OF MAINE 
4 
3 


(violin, saxophone, trombone); b. Bos- — 
ton, Mass., Feb. 22, 1901; s. William and — 
Annie Fine Lipsky; ed. Bangor, Me., ~ 
and at Harvard University; studied with - 
H. M. Pullen and May Weston; mem. 
Harvard University Band, Bangor 
Symphony Orchestra, Pierian Sodality 
Orchestra, Harvard Univ. and Boston — 
Symphony Ensemble; Mason; mem. — 
Alpha Omega Fraternity, Mu Sigma 
Fraternity. Vocation, practising dentist 
at 64 East 86th St., New York City. 
pe address, 278 Main St., Bangor, 

e. 


Me., 1880; d. Andrew J. and Clara , 
(Oliver) Percy; m. Harry E. Litchfield. — 
Vocation, artist and restorer of antiques. ; 
Res., 16 Bath St., Bath, Me. 


b. Lewiston, Me.; d. William E. and 
Clarawi: Litchfield; ed. Lewiston, Me.; — 
studied with E. W. Hanscom and Har- . 
vey Murray; Pres. Philharmonic Club, 
6 yrs., Treas., 8 yrs.; state chairman, 
Young Artists Contest, 3 yrs.; mem. 
Philharmonic Club, Women’s Literary 
Union, Rebekahs and Odd Ladies; mem. 
Spinet Club, Lewiston, 20 yrs. Address, 
III Bartlett St., Lewiston, Me. j 


b. Auburn, Me., 1866; d. Sewell 
Clarke and Melissa Foss Parker; m. John 
H. Litchfield, 1884; studied with E. W.5 
Hanscom, Auburn, and Prof. Frank L. 
Rankin, Portland; mem. Spinet Club of 
Lewiston-Auburn from the time of its. 4 
incorporation, over a period of 20 yrs., 
when it merged with the Clef and Cla-— 


~ ha, 4 f af ay ey ~~ - mm", Seat > 
ee WALKS SUS ines Meth pits 4 ae “ 
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Page: 


BIOGRAPHICAL SECTION—1927-1928 


421 


vier Clubs into the Musical Union and 
in 1917 changed its name to the Philhar- 
monic Club; served as Sec., Vice Pres., 
Pres., Director and Program Committee 
of Spinet Club; also Sec., Pres., Dir. and 
Pro. Com. of Philharmonic Club; org. 
the clubs in Music Appreciation and Un- 
derstanding in Lew.-Aub., Jan., 1924, as 
arranged and sponsored by the Nat. Fed. 
of Music Clubs; Third Vice Pres. of 
Maine State Fed. of Music Clubs its sec- 
ond year; mem. Lew.-Aub. Festival 
Chorus during its first years and dir. 
Central Maine Festival Asso. Lewiston- 
Auburn. Res., 329 Turner St., Auburn, 
Me. 

Little, Anita Gray, pianist; b. Portland, Me; 
d. Francis Hall and Ella Gray Little; ed. 
Portland public schools and Waynflete 
School, Portland; studied piano with 
Lucy Blanchard and Helen Lamson EI- 
well; asso. mem. Rossini Club; com- 
poser, “Cradle Song,” pub. by Oliver 
Ditson Co., Boston, 1924, and about 20 
songs in manuscript; author of a num- 
ber of poems, some of which have been 
published; received prize for poem, 
“Music.” Res., 22 Stonybrook Road, 
Cape Elizabeth, Me. 

Little, C. Bryce, vocalist; s. Freemont J. 
C. Little of Augusta; chorister Cathe- 
dral St. John the Divine, N. Y.; Pres. 
Festival Chorus. Address, Augusta, Me. 


Little, Frank H., oboe; former mem. Port- 
land Orchestral Society; mem. Portland 
Municipal Orchestra. Address, Wood- 
land Rd., So. Portland, Me. 

Littlefield, Ellen Blanchard, pianist; b. 
Portland, Me., March 14, 1844; d. Syl- 
vanus R. and Christiana B. Lyman; m. 
Henry B. Littlefield, Dec. 15, 1868; stud- 
ied with Henry S. Edwards and W. H. 
Dennett; Rec. Sec. Rossini Club from 
1895 to 1897; mem. Portland Rossini 
Club from 1872 to 1897; now honorary 
member of same. Address, 100 Park St., 
Portland, Me. 


_ Littlefield, Mrs. George Edward, vocalist, 


Pianist; b. Gorham, Me., May 28, 1901; 
d. Leverett C.and Minnie Labarru Hol- 
den; m. George E. Littlefield, June 30, 
1921; ed. Gorham Normal School; stud- 
ied with Nellie McCann, Gorham, Helen 
Cressey, Portland, and Mrs. Marion 
Theis, Westbrook; mem. choir, First 
Parish Cong. Church, Gorham; mem. 
Annie Louise Cary Club, Woman’s 
Guild, First Parish Cong. Church; Pres. 
Woman’s Aux. Am. Leg. Address, 
School St., Gorham, Me. 


Littlefield, Laura Comstock, vocalist (so- 
prano); b. Malden, Mass.; d. Charles M. 
and Ada Cummings Comstock; m. Rob- 
ert Stanley Littlefield, June 8, 1905; ed. 
Radcliffe College; studied with Mrs. H. 
H. Gallison, Jean de Reszke and Her- 
bert Witherspoon; mem. Old South 
Church Choir, Boston; soloist with Bos- 
ton Symphony Orchestra 12 times and 
with the Apollo Club, Handel and Haydn 
Society, Harvard Glee Club, Cecilia So- 
ciety and for Victor Records. Vocation, 
professional singer. Address, 87 St. Ste- 
phen St., Boston, Mass. Summer ad- 
dress, Pleasant Point, Knox County, Me. 


Littlefield, Seth, m.t. Address, Orono, Me. 


Long, Ella Boyce Fifield, teacher of piano 
and pipe organ; b. Bangor, Me., April 1, 
1894; d. Frederick T. and Cecilia (Camp- 
bell) Fifield; m. William Puffer Long, 
Sept. 26, 1917; ed. Bangor and Faelten 
School, Boston; studied with Mrs. F. L. 
Tuck and Grace Bramhall; organist Es- 
sex St. Baptist Church, Bangor; mem. 
Fifield Trio, Schumann Club and Ban- 
gor Festival Chorus. Address, South 
Brewer, Me. 


Longfellow, Bertha, Treas. Machias Fes- 
tival Chorus. Address, Machias, Me. 


Loomis, Daisy, m.t. Address, Lincoln, Me. 
Lord, Cora, m.t. Address, Belfast, Me. 


Lord, Frederick A., mem. Excelsior Quar- 
tette. Address, Saco, Me. 


Lord, Helen Cooper, composer, pianist, 
accompanist; b. Dec. 10, 1892; d. John 
F. and Mary B. Cooper; m. Kenneth 
Prince Lord, Sept. 6, 1913; ed. Bradford 
Academy; studied with Madame French, 
Dr. Latham True, Harris Shaw and 
Madame Suza Doane; former mem. 
Harmony Club (12 yrs.), Rubinstein 
Club (4 yrs.); Sec. Fort Sill Study Club; 
composer, “Old Pine,” “Sky Bird and 
Tree,” 2Vale,” “In De Cabin Do,” “Mah 
Lil Lamb,’ “Remembrance,” “The 
Years at the Spring,” “Down by the 
Locker of Davy Jones.” Address, 156 
Limerock St., Rockland, Me. Mail ad- 
dress, Lawton, Oklahoma. 


Lord, Mary Marriner, pianist, organist; 
b. Washington, D. C.; d. Chauncey and 
Abbie Clement Towle Marriner; m. 
Charles Ferdinand Lord, Jan. 22, 1889; 
ed. Fryeburg Academy; studied with Her- 
mann Kotzschmar, Portland, and Frederic 
Beswirtz and Madame De Revelle Rice, 
Chicago, and Benjamin Allen, Worces- 
ter, Mass.; org. Church of the New 


422 


MUSIC AND MUSICIANS OF MAINE 


Jerusalem, Fryeburg; mem. Woman’s 
Literary Club, Eastern Star, Pomonas and 
Grange; former Pres. Woman’s Lit. Club 
and Sec. of Grange. Vocation, teacher. 
Address, Main St., Fryeburg, Me. 


Loring, Harold, recitalist, lecturer, con- 
cert artist, composer; b. Portland, Me., 
June 27, 1879; s. Lincoln R. and Jennie 
Burnham Loring; m. Carol Constant, 
1913; studied with Carl Faelten, Boston, 
A. K. Virgil, N. Y., and Willard Kim- 
ball, Portland; mem. Phi Alpha Pi and 
Musicians Club of N. Y.; spent 7 yrs. on 
Indian Reservations, studying folklore, 
languages and music; toured the U. S. 
lecturing on “The North American In- 
dian and his Music’; composer, “Song 
of the Red Man,” “Sioux Indian Ghost 
Song,” “My Heart is Sad,” “Cheyenne 
War Song”; various transcriptions of 
native Indian songs. Address, Indian 
Hills Artists Colony, Colorado. 


Lothrop, James K., mem. Kotzschmar 
Club. Address, 90 Rackleff St., Port- 
land, Me. 


Lothrop, Mrs. James K. (May G.), vocal- 
ist (contralto); mem. Women’s Choral 
Society and past pres.; mem. Central 
Sq. Baptist Church Quartette. Address, 
90 Rackleff St., Portland, Me. 


Lougee, Lenona Pauline, vocalist (alto) ; b. 
Dyer Brook, Me., Feb. 16, 1906; d. Her- 
man F. and Lettie Clark Lougee; stud- 
ied with Eva McGinley and Rudolf Hul- 
ten; mem. choir and orchestra (violin) 
First Baptist Church; mem. Houlton 
Music Club and Houlton Symphony 
Orchestra. Address, 8 West St., Houl- 
ton, Me. 


Lougee, Marguerite Emma, vocalist; b. N. 
Parsonsfield, Me. July 18, 1890; d. 
Hugh B. and Anna (Eastman) Lougee; 
ed. Parsonsfield Sem.; A.B. Bates, 1913; 
A.M. Columbia Univ. and Bates, 1923; 
mem. Me. Music Festival; supt. begin- 
ners dept. United Bapt. Sunday School, 
1920-23; mem. Phi Beta Kappa Frat., 
N. E. Assn. Math. teachers; demonstra- 
tion teacher, social director and in 
charge of chapel music at Bates Sum- 
mer School (1923); head of Math. Dept. 
F. A. Day Junior High School, Newton- 
ville, Mass., 1926; dir. Jordan High 
School Mandolin Club, tr1919-26; dir. 
Mandolin Club, F. A. Day Jr. High, 
1927; composer school song, “We’re 
Out to Win.” Address, 141 Nichols St., 
Lewiston, Me. 


Lougee, Nellie Delphine, vocalist (mezzo 


soprano); b. N. Parsonsfield, Me., Oct. 
19, 1888; d. Hugh Bartes and Anna ~ 
Eastman Lougee; ed. Parsonsfield Sem- — 
inary, A.B. Bates College; former mem. 
Girls’ Glee Club, Bates Coll.; mem. 
choir Lewiston churches; mem. Me. 
Music Festival since 1911. Res., 141 
Nichols St., Lewiston, Me. 


Love, Evelyn, m.t. Address, 102 Pleasant 
St., Auburn, Me. 


Loveley, Ethel, vocalist (mezzo soprano); 
b. Washburn, Me.; ed. Caribou Public 
Schools; studied with Samuel W. Cole 
and at N. E. Conservatory of Music; 
mem. St. Luke’s Episcopal Church 
Choir; graduate American Institute of 
Normal Methods, Auburndale, Mass.; 
formerly supervisor of music in public 
schools at Caribou, Me., Provincetown, 
Mass. Vocation, supervisor of music, 
riba! Mass. Address, Maynard, 

ass. 


Lovell, Franklin Winslow, pianist, organ- 
ist; b. Portland, Me., Dec. 20, 1899; s. 
Walter H. and Edith H. Lovell; ed. 
Portland, Me., and Bowdoin College; 
studied with Frank L. Rankin, Leo Le- 
Sieur and Prof. E. H. Wass; mem. Bow- 
doin College Band (tuba, cymbals) and 
Lovell’s, Harmonic and Bowdoin Col- 
lege Orchestras; mem. Portland Athlet- 
ic Club, Portland Lodge, No. 1, F. A. 
M., Portland Musicians Asso. and Alpha 
Delta Phi Fraternity, Bowdoin College. 
Address, 45 Spring St., Portland, Me. 


Lovell, H. D., music teacher, clarinettist. 
Address, Brunswick, Me. 


Low, Mrs. Martha, honorary member — 
Philharmonic Club, Auburn-Lewiston. — 
Address, Lewiston, Me. _ 


Low, Mildred Caroline, teacher of piano 
and voice; b. Springvale, Me., 
1881; d. Frank and Levia (Hubbard) 
Low; mem. Springvale Woman’s Club; 
church organist and choir director; — 
mem. Pleasant St. Free Baptist Church. © 
Address, 16 Paine St., Springvale, Me. 


Lowell. Charlotte, vocalist; mem. Wom- — 
at Choral Society. Address, Portland, — 


Lowell, Harry, bassoon; mem. Portland — 


Municipal Orchestra. Address, % A. H. — 


Berry Shoe Co., 149 Middle St., Port- 
land, Me. x 
Luce, Bertha Mae, violinist; b. Union, Me. 
May 27, 1903; d. Dr. Irville E. and Mary — 
Andrews Luce; ed. Farmington Normal — 
School; studied violin with William — 


Aug. It, @ 


BIOGRAPHICAL SECTION—1927-1928 423 


Krafts, Dr. I. E. Luce, Augusta Talbot; 
mem. Rubinstein Club, Rockland; for- 
mer mem. Cecilia Club, Augusta, Phil- 
harmonic Club and Harmony Club of 
Rockland. Vocation, school teacher. Ad- 
dress, Thomaston, Me. 


Luce, Carrie F., teacher of piano; b. Five 
Islands, Me., March 25, 1863; d. Francis 
A. and Caroline Snowman Luce; ed. 
Hallowell Classical Academy. Address, 
97 Oak St., Bath, Me. 


Lucille, Sister Mary, school music super- 
visor. Address, Waterville, Me. 


Ludden, Muriel B., pianist; b. Bingham- 


ton, N. Y., May 21, 1900; d. Dr. Ray and 


Carrie S. Beardsley; m. William Robin- 
son Ludden, Dec. 25, 1922; studied with 
Mrs. Charles McLean, Binghamton, N. 
Y.; mem. and press reporter Philhar- 
monic Club, Auburn. Address, 9 Win- 
ter St., Auburn, Me. 


Ludden, Rena H., vocal teacher; b. Bris- 
tol, N. H., Aug. 14, 1884; d. Stephen F. 
and Annie S. Hammond; m. Forest E. 
Ludden, July 3, 1918; studied with Mrs. 
Katherine Crafts and Mrs. Franklin 
Clark; mem. Philharmonic Club. Ad- 
dress, 9 Winter St., Auburn, Me. 


Lunt, Elsie, m.t. Address, R. F. D. No. 3, 
Freeport, Me. 


Lurvey, Samuel S., bandsman (cornet- 
tist) ; b. Norway, Me., 1859; mem. John- 
son’s Cornet Band; became mem. Lynn 
Brass Band, 1882, and played with this 
band 9 yrs. when present Lynn Cadet 
Band was organized he became leader 
(about 48 musicians) ; mem. Masons, Odd 
Fellows, Knights of Pythias, Knights 
eat Red Men. Address, Lewiston, 

e. 

Lyford, Laura Alvena, teacher of piano 
and pipe organ; b. Rockland, Me., Dec. 
13, 1868; d. Houghton Hall and Clara 
Caroline Putnam; m. Bertrand Everett 
Lyford, Nov. 24, 1887; ed. Farmington 
and Lewiston public schools; studied 
with Alma Holmes, Tracy Young; mem. 
Universalist Church Choir; organist M. 
E. Church, Livermore Falls; former 
Drea. vy. kt. M, 5. of M. E. Church; 
mem. Pythian Sisters, M. E. Church. 
Address, Livermore Falls, Me. 


Lynch, Mrs. J. T., soloist, St. Peter’s 
Episcopal Church. Address, 30 Kidder 
St., Portland, Me. 

Lynn, Ruth M., music teacher; mem. Mac- 
Dowell Club. Address, 526 Stevens 
Ave., Portland, Me. 


Lyon, C. Leroy, teacher of singing, tenor 
soloist; b. Leominster, Mass., Dec. 9, 
1884; s. Albert E. and Julia Ada Lyon; 
m. Alice Clair Silverthorne, Aug. 11, 
1914; ed. Mt. Hermon School, Mass.; 
studied with Arthur J. Hubbard; com- 
pdsition with Benjamin Whepley, Bos- 
ton, and directing with Frederick Wood- 
ell; dir. Grace M. E. Church Choir; dir. 
Lyric Male Quartet; composer, ‘“Wait- 
ing,” “Carita,” “Isle of Dreams” and “I 
Need My Father’s Love”; was army 
song leader during war; teacher acting, 
sight reading, harmony, voice. Address, 
Bangor, Me. Winter address, 605 First 
Ave., So. St. Petersburg, Florida. 


Lyon, Ida Holtz, teacher of piano; b. Dan- 
forth, Me., 1884; d. Ida M. McClain; m. 
Percy W. Lyon, 1921; studied piano 
with Mrs. Dwight Foster, Miss Leila 
Bucklin, Camden, and Miss Abbie Gar- 
land of Bangor Piano School; voice 
with Sara Peakes, Bangor, and pipe 
organ with Everett Hall, Bangor; grad- 
uate of American Institute of Normal 
Methods, Auburndale, Mass. Teaching 
in public schools of Danforth. Address, 
Danforth, Me. 


Lyseth, Harrison C., org. and choirmaster 
St. Mark’s Epis. Church; org. Augusta 
State Hospital. Address, Augusta, Me. 


MacDonald, J. Daniel, teacher of piano; 
b. Portland, Me., June 16, 1895; s. Don- 
ald and Mary Belle Corrigan MacDon- 
ald; studied with Sisters of Mercy, Prof. 
George Quimby, Dr. Alfred Brinkler, 
and with noted Benedictine, Dom Ade- 
lard Bouvilliers of Belmont Abbey; 
studied voice with L. B. Cain and 
Blanche Towle of Boston; started ca- 
reer as boy soprano at Cathedral of Im- 
maculate Conception, Portland, 1908; 
returned to direct this same choir in 
1924-25. Activities, piano teaching, vo- 
cal coaching and concert playing. Ad- 
dress, 602a Congress St., Portland, Me. 


MacDonald, Mrs. Margaret, organist. Ad- 
dress, 13 Grant St., Portland, Me. 


MacGibbon, Roger W., teacher flute and 
bassoon; b. Springvale, Me., June 27, 
1899; s. of A. J. and F. W. MacGibbon; 
studied with Prof. Arthur Brooke; mem. 
Empire Theatre Orchestra; organizer, 
Lewiston-Auburn Symphony Orches- 
tra; former mem. of various theatre or- 
chestras and concert bands throughout 
New England. Vocation, musician. Ad- 
dress, Empire Theatre, Lewiston, Me. 


MacGregor, Eleanor B., music teacher, 


424 ~ MUSIC AND MUSICIANS OF MAINE 


composer. Address, 44 State St., Port- 
land, Me. 

MacLaughlin, Marlin V., cornettist; b. 
Brewer, Me., Dec. 27, 1903; s. James E. 
and Abbie B. Skofield MacLaughlin; 
ed. University of Maine; studied with 
Dennis O’Neil and Irving Devoe; mem. 
Eastern A. A., Bangor Band and direc- 
tor of University of Maine Band; mem. 
Tom Kaine’s Dance Orchestra. Address, 
28 E. Summer St., Brewer, Me. 


MacLean, Bessie Smith, organist, teacher’ 


of piano; b. So. Portland, Me., Dec. 11, 
1886; d. Horatio Nelson and Annie Bal- 
lard Smith; m. Angus MacLean, Oct. 
16, 1907; studied with Maude Gilman 
and at New England Conservatory; or- 
ganist; Elm St: Mi HE. «Church; “Fast 
Pres. Matrons Club; has played for 
Longfellow Chaper, O. E. S., for 14 yrs. 
Address, 50 Cole St., So. Portland, Me. 


MacMullin, Margaret Mitchell, music su- 
pervisor in public schools; b. Orono, 
Me., 1897; d. John J. and Alena Hunter 
Mitchell; ed. University of Maine; m. 
Joseph Percy MacMullin, Dec. 29, 1924; 
studied at N. E. Conservatory and David 
Mannes Music School, N. Y. City; mem. 
St. Martin of Tours Choir, Millinocket; 
soprano soloist, pianist; mem. Philhar- 
monic Club; adviser of Junior Philhar- 
monic Club. Address, Box 165, Milli- 
nocket, Me. 

Macomber, Mrs. Harry, m.t. Address, 
Castine, Me. 


Macy, Edward Hallett, vocalist (bari- 
tone), pianist, accompanist; b. New 
Bedford, Mass., July 4, 1870; s. Thomas 
Hallett and Henrietta Luce Macy; for- 
merly mem. St. Stephen’s Epis. Church 
Choir, Portland, Maine Music Festival; 
author of poems, including a published 
volume, “Between Whiles”; sermon 
story, “There and Back”; composer, an- 
them, “Give Praise to God,” and words 
of two popular songs. Vocation, minis- 
ter. Address, 13 Beckett St., Portland, 
Me. 

Macy, James F., bass soloist; b. New Bed- 
ford, Mass., July 3, 1869; s. William J. 
and Amanda M. Peirce; m. Rose M. 
Sayward, Dec. 9, 1896; ed. New Bedford 
and N. E. Conservatory of Music, Bos- 
ton, Mass.; studied with William L. 
Whitney; mem. New Bedford No. Con- 
gregational Church Choir 4 yrs., Willis- 
ton Church Choir, Portland, 7 yrs., 
Warren Church, Westbrook, 4 yrs.; 
Pres. Haydn Asso. 2 yrs., Music Fes- 


tival Chorus 1 yr.; mem. Portland Men’s 
Singing Club, Kiwanis Club, Portland 
Club; Treas. S. H. & A. R. Doten; M. & 
M. Mutual Fire Insurance Co. Ad- 
dress, 66 West St., Portland, Me. 


Magill, Mrs. Philip, m.t. Address, Presque 


Isle, Me. 


Maher, Elizabeth, pianist; accompanist St. 
Croix of Calais Festival Chorus. Ad- 


dress, Calais, Me. 


Mainente, Anton Eugene, teacher, com- 


poser and conductor; b. Paterson, N. J., 
Nov. 9, 1889; s. Emil and Pasqualina 
Mainente; m. Marcelle Darneau, Sept. 
27, 1921; ed. N. E. Conservatory, and 
Paris; studied with G. W. Chadwick, L. 
C. Elson, A. Gedalge, A. Caplet, E. 
Klahre, B. Cutter, A. Brooke, and F. 
Casadesus; band leader, The Mainente 
Concert Band; dir. and founder, The 
Mainente School of Music; composer, 
“Fantasia Mesto, Symphonic Poem,” 
“The Four Horsemen of Apocalypse,” 
“Colonel Bigelow March,” “The Spirit 
of Lakewood March,” and others; for- 
mally conductor, Doree Opera Co., band 
leader and instructor of the A F 
Bandleaders School, Chaumont, France; 
flutist with the Boston Symphony Or- 
chestra during season of 1916. Address, 
Rumford, Me. 


Mallett, Mrs. Blanche B., m.t. Address, 


Readfield, Me. 


Maloney, Fanning G., flute soloist and 


concert artist, vocalist (baritone); b. 
Richford, Vt.; s. M. J. and Jennie Goff 
Maloney; m. Blanche A.. Dostie, June 
23, 1914; ed. Richford High School; 
studied with Mon. André Maquarre; 
piano and harmony with Madame Leach 
of N. Y., flute solfeggio, theory and ad- 
vanced harmony with Andre Maquarre 
of the Boston Symphony who won first 
prize in the Paris Conservatory; studied 
composition with Massanet; composer 
numerous songs and flute solos; former- 
ly mem. Sousa’s Band (flute); mem. 
Strand Theatre Orchestra; former mem. 
Verdi Symphony Orchestra, MacDow- 
ell Club, and Hotel Westminster Or- 
chestra of Boston and flute soloist on 
various Lyceum Bureaus; conductor 
Portland Flutists’ Society. Res., 135 
Sherman St., Portland, Me. 


Mangum, Elmer R., vocalist (tenor); 


mem. Kotzschmar Club, Portland Men’s 
Singing Club, Portland Polyphonic So- 
ciety. Address, 20 Hanover St., Port- 
land, Me. 


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Mansfield, 


BIOGRAPHICAL SECTION—1927-1928 425 


Mann, Mrs. William E., music teacher; 


mem. Me. Festival Chorus, 25 yrs. Ad- 
dress, Milltown, Me. 


Frances Vivian, organist, 
teacher of piano; b. Houlton, Me., Sept. 
1, 1906; d. Harry Francis and Pearl 
Barker Mansfield; studied at St. Mary’s 
Academy, Houlton; piano, C. Winfield 
Richmond, Bangor; voice, Mary Bur- 
pee, Helen Spearin Leonard; mem. choir 
and org. First Baptist, Houlton; for- 
merly org. Church of the Good Shep- 
herd and the Congregational; mem. 
Houlton Music Club. Address, 19 Bow- 
doin St., Houlton, Me. 


Marble, Harriet Ladd (soprano); b. Skow- 


hegan, Me., June 27, 1879; d. Edwin W. 
and Elizabeth A. Marble; ed. Skowhe- 
gan High School and Darlington Sem- 
inary; studied voice with Mrs. Philo 
Steward, Skowhegan; Sumner Salter, 
New York, and The Institute of Musi- 
cal Art, N. Y.; mem. Calvary Baptist 
Church Choir, N. Y.; musical career 
started at the age of seven; taught music 
in Lebanon Valley College in Penn., and 
Roanoke Institute, Dannville, Va.; 1916 
went to the Philippine Islands; taught 
music for a few months in the Girls 
Academy at Iloilo; 1917 established and 
was made head of the voice department 
of the Conservatory of Music, Univer- 
sity of the Philippines, at Manilla, P. L.; 
and while there did research work in 
Philippine music, collecting unpublished 
folk music and translating old Spanish 
records; retired from the Philippine ser- 
vice in the Spring of 1925; in 1926 be- 
came supervisor of music for the Dis- 
trict of Skowhegan and Madison, Me. 
Address, 3 Spring St., Skowhegan, Me. 


March, Edith M., m.t. Address, 19 Bram- 


hall St., Portland, Me. 


Marcoux, Joseph Henri, vocalist, concert 


artist; b. Waterville, Me., Dec. 5, 1892; 
s. Antoine P. and Marie (Poulin) Mar- 
coux; ed. St. Louis Comm. Coll., Trois 
Rivieres Sem.; m. Marie Eva Begin, 
June 27, 1921; studied voice with Isi- 
dore Braggiotti; dir. Chorale St. Fran- 
cois de Salles, 15 yrs.; gave concerts 
Boston, Springfield, New Bedford, Mon- 
treal, Quebec, Paris, France; mem. I. 
O. O. F., Am. Legion, St. Jean Baptiste 
D’Amerique. Res. 11 Summer St., 
Waterville, Me.; 0., 1043 Beacon St., 
Boston, Mass. 


Marden, Mrs. Florice E. (Davis), teacher 


of piano and violin; b. Pittsfield, Me., 


See aay: 


CHARLES MARSHALL, AS SAMSON, IN SAENT SANS’ 
OPERA, “SAMSON AND DELILAH.” 


Aug. 11, 1868; d. Joseph Henry and 
Louise Maria (Connor) Davis; m. W. 
C. Marden, M.D., June 23, 1806; ed. 
Portland and Boston; studied with E. 
H. Wass, Faelten School, S. P. Maxim 
and H. Kotzschmar, and violin with Lil- 
lian Gray Shesong. Address, 16 Middle 
St., Pittsfield, Me. 


Marquis, Lorette E., violinist; b. Auburn, 


Me., Sept. 2, 1908; d. William S. and 
Mary M. Marquis; studied with Mar- 
guerite Girouard and Josafa Morin; 
mem. Lewiston-Auburn Symphony Or- 
chestra. Address, Minot, Me. 


Marsh, Albert R., music teacher, violin. 


Address, 95 Union St., Rockland, Me. 


Marshall, Charles, concert artist, opera 


singer; b. Waterville, Me., Sept. 15, 1886; 
s. Thomas and Florence Marshall; m. 
Annie Taylor, Nov. 16, 1912; ed. Auburn, 
Me., and Boston, Mass.; studied with 
William L. Whitney, E. Hanscom, Luigi 
Vannucini and Luigi Lombardi; made 
debut in 1905 in leading male roles in 


426 


Tannhauser, La Giaconda and La Tra- Marston, Kathleen B., vocalist (contral- 


viata; has sung seventy-eight different 
parts in all principal opera houses in Eu- 
rope, Italy, Russia, Turkey, Greece and 
in America at Chicago, N. Y., Boston, 
Pittsburgh, Washington and the coast; 
toured Europe for two and one-half years 
with Florence Opera Co.; with the Chi- 
cago Opera Company since 1918. Address, 
Kimball Bldg., Chicago, I. 


Marshall, Evelyn, m.t. Address, 201 Water 
St., Waterville, Me. 


Marshall, Leonard D., vocalist (bass); 
mem. Portland Polyphonic Society; dir. 
Kotzschmar Club. Address, 458 Cum- 
berland Ave., Portland, Me. 


Marshall, Mabel E., school music super- 
visor. Address, Mexico, Me. 


Marston, Agnes L., composer, organist; b. 
Snow’s Falls, Me., Oct. 20, 1862; d. Sam- 
uel F. and Louise Keene Briggs; m. W. 
H. Penfold, 2nd W. P. Marston; ed. Ox- 
ford Normal Institute; studied with My- 
ron Whitney, /‘W. H. Dennett, C. S. 
Briggs, Will Stockbridge; org. Univ. 
Church, 20 yrs., Baptist Church, 2 yrs.; 
Pres. and Sec. Seneca Club and Euter- 
pean Club; mem. Community Club of So. 
Paris; composer, “We’re Growing Old 
Together, You and I,” “When Night 
Comes On,” “Summer Days are Passing 
By,” “O Lord, Remember Me,” ‘Moon- 
light March.” Vocation, journalist, daily 
correspondent for Lewiston Journal, 18 
yrs. Address, Pine St., So. Paris, Me. 


Marston, Charles E., soloist (tenor); b. 
Waterville, Me., Aug. 7, 1868;°s. Ste- 
phen C. and Sarah Rogers Marston; ed. 
Coburn Classical Inst., Waterville, Me.; 
m. Ada M. McNelly, Aug. 16, 1923; has 
sung continuously in choirs since 16 yrs. 
of age, 15 yrs. in Waterville choirs and 
25 yrs. in Augusta; mem. Univ. Quar- 
tette, morning service; leader quartette 
Maine Insane Hospital, afternoon ser- 
vice; has sung continuously in this 
quartette for 20 yrs.; mem. Blue Lodge 
and Chapter; Mason; mem. Festival 
Chorus first 7 yrs. of its existence. Vo- 
cation,. clothing business. Res., 67 
Green St., Augusta, Me. 


Marston, Frostina Elizabeth, musician; 
b. Bath, Me., Dec. 26, 1858; d. William 
F. and Sarah (Carvill) Marston; Prin. 
North Grammar Sch.; teacher 45 yrs.; 
Pres. Bath Teachers Club; Sec. Fort- 
nightly Club; Sec. Mendelssohn Club; 
mem, Festival Chorus 30 yrs. Res., 179 
Lincoln St., Bath, Me. 


MUSIC AND MUSICIANS OF MAINE 


to); b. Camden, Me., Nov. 18, 1893; d. 
Edward B. and Elizabeth W. Ingraham; 
m. Maynard L. Marston, Dec. 17, 1917; 
studied with Mrs. Armstrong, Mrs. Lil- 
lian S. Copping, Edith Castle; soloist 
First Baptist Church, Rockland, Me.; 
mem. Rubinstein Club, Harmony Club 
and Choral Association; soloist 3 yrs. at 
Cong. Church, Thomaston, and 3 yrs. at 
Cong. Church, Rockland, Me. Address, 
17 Masonic St., Rockland, Me. 


Martin, Harry E., vocalist; ist Tenor Aca- 
cia Quartet, Portland, Me. Address, Port- 
land, Me. 

Martin, Joseph, cornettist; leader of Pain- 
chaud’s Band. Address, Biddeford, Me. 

Mathes, Nettie M., m.t. Address, So. Ber- 
wick, Me. 

Mathews, Mrs. Blanche Dingley, pianist, 


teacher of piano; b. Auburn, Me.; stud- — 


ied with Barth and Busoni at Berlin; 
MacDowell and W.S. B. Mathews, whom 
she married; general director Summer 
Normal Course for Western Teachers at 
The MacDowell Club, Los Angeles, Cal. ; 
head of Music Dept. at Westbrook Sem- 
inary; studios in Colorado Center, Den- 
ver, Colorado, and Michigan Center, De- 
troit, Michigan; pioneer worker for sys- 
tematic ear training; author of ook 
“Harmonic Ear-Training and Theory.” 
Address, Steinert Bldg., 162 Boylston St., 
Boston, Mass. 

Matthews, Mrs. Elwyn, m.t. Address, St. 
Albans, Me. 

Maxim, George Pratt, teacher of piano, 
score reading and ensemble at Faelten 
Pianoforte School, Boston; b. St. Al- 
bans, Me.; s. Sullivan A. and Abbie S. 
Maxim; m. Ethel L. Tupper, Aug. 20, 
Igo00; ed. N. E. Conservatory; studied 
with Phillipp, Paris, Luctschg, Berlin; 
mem. Harvard Musical Asso.; author of 
Score Reader, published by Schmidt. 


Summer home, Waterville, Me. Ad. 
dress, 30 Huntington Ave., Boston, 
Mass. 


Maxim, Martha, teacher of violin; b. Buck- 
field, Me.; d. Benjamin and Susan Har- 
low Maxim; ed. Marsick School, Paris; 
formerly soloist Columbus Ave. Cong. 
Church Choir and other churches in 
Boston and member of a noted ladies 
quartette of which Flora E. Barry was 
leader (contralto); hon. mem. Boston 
Daughters of Maine; author of travel 
letters, poems, “From Paris, Maine, to 


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I OE 


BIOGRAPHICAL SECTION—1927-1928 


427 


Paris, France,” “In the Land of the 
Blue Bell and Heather” and “In the 
Land of the Shamrock and Shillalah”; 
organizer and leader of the Maxim Con- 
cert Co., composed of five ladies and 
one of the most popular musical organi- 
zations of 25 or 30 yrs. ago; principal 
for some years of Cambridge Prepara- 
tory School of Music which she organ- 
ized. Address, tor Walden Street, Cam- 
bridge, Mass. 


Maxim, Mary, teacher of piano and voice 
(contralto); b. Buckfield, Me.; d. Ben- 
jamin and Susan Harlow Maxim; stud- 
ied with Flora E. Barry; has been mem- 
ber of choirs in Boston and Gloucester, 
Mass., and Saco, Me.; hon. mem. Bos- 
ton Daughters of Maine; mem. Maxim 
Concert Company for Io yrs.; writer of 
occasional verse; chief distinction, artist 
in water colors. Address, 101 Walden 
St., Cambridge, Mass. 


Maxwell, Irving W., substitute mem. Port- 
land Men’s Singing Club. Address, 125 
Chadwick St., Portland, Me. 


erie Leola, m.t. Address, Limestone, 

e. 

Maynard, Louise Swanker, vocalist (mez- 
zo contralto); b. Auriesville, N. Y.; d. 
William Henry and Louise Mielke 
Swanker; m. Cloyd Tabor Maynard, 
Noy. 7, 1003; <d. Schenectady, N. Y., 
and Union Classical Institute; studied 
with Mrs. Augusta Nieper, Mrs. Sarah 
Appel Carr and Irene Butler Skinner; 
mem. Mt. Zircon Chapter, Order of The 
Eastern Star; formerly mem. Schenec- 
tady Choral Society. Address, 414 Pe- 
nobscot St., Rumford, Me. 


McAlister, Marion Kathleen Witham, col- 
oratura soprano; b. Bangor, Me., Feb. 
24, 1894; d. Florence Chute Pierce; m. 
Charles de Ross McAlister, Jan. 20, 
1915; ed. N. E. Conservatory and won 
first prize in Paris Conservatory; stud- 
ied with Louis Schalk, Ramon Blan- 
chart, Charles Adams White, Mme. 
Murkland, Boston, and Hettich and 
Panzera, Paris; author of volume of 


poems. Vocation, concert and opera. 
Address, 11 Everett St., Cambridge, 
Mass. 


McCann, Nellie Louise, teacher of piano; 
b. Westbrook, Me.; d. Joseph Harrison 
and Mary Ella Bean McCann; ed. 
Westbrook, Me., and with private 
teachers; studied in Portland and Bos- 
ton; writer of special articles and short 
stories; Pres. Annie Louise Cary Club; 


Chairman Junior Clubs, Maine Federa- 
tion of Music Clubs, 1928-1930; mem. 
Maine Federation Music Clubs and 
Cosmopolitan Club, Gorham; piano 
teacher, specializing in teaching of 
children. Address, 66 South St., Gor- 
ham, Me. 


McCausland, Doris, vocalist; mem. Port- 
land Rossini Club. Address, 61 Clifton 
St., Portland, Me. 


McCausland, Harriet S., honorary mem. 
and charter mem. Portland Rossini 
Club. Address, 180 Danforth St., Port- 
land, Me. 

McClung, George, vocalist; mem. Portland 
Men’s Singing Club. Address, 157 High 
St., Portland, Me. 

McCobb, Harriet S., charter mem. and one 
of the founders of the Portland Rossini 
Club. Address, 180 Danforth St., Port- 
land, Me. 

McCobb, Mary S., charter mem. Portland 
Rossini Club. Address, 180 Danforth 
St., Portland, Me. 


McCord, Percy B., vocalist (baritone); 
mem. Portland Men’s Singing Club; 
mem. First Parish Church Choir. Ad- 
dress, 29 Capisic St., Portland, Me. 


McCready, Marion Taylor, vocalist (alto) ; 
b. Boston, Mass., July 20, 1878; d. John 
and Annette Marden Taylor; m. Arthur 
L. McCready, Feb. 10, 1895; studied 
with Louise Leimer and at N. E. Con- 
servatory of Music; mem. choir Court 
St. Baptist Church; mem. Houlton Mu- 
sic Club. Address, 11 Park St., Houlton, 
Me. 

McDonald, Mrs. Annie, 
Eastport, Me. 


McDonnell, Charles H., piano teacher; b. 
Portland, Me., Dec. 23, 1877; s. Thomas 
H. and Helen Twigg McDonnell; m. 
May Alice Hall, Jan. 17, 1900; studied 
with Frank L. Rankin and at N. Y. Cla- 
vier School; organist St. Peter’s Church; 
composer, masses, anthems and piano 
pieces. Res., 9 Russell St., Portland, 
Me. 

McDonnell, May, mem. Women’s Choral 
Society. Address, 9 Russell St., Port- 
land, Me. 

McDougal, Mrs. Olive, mem. Women’s 
Choral Society. Address, 21 Pine St., 
Portland, Me. 

McGinley, Eva, m.t. 
Me. 

McGonagle, Mary K., m.t. Address, 56 
Waterville St., Portland, Me. 


m.t. Address, 


Address, Houlton, 


428 


MUSIC AND MUSICIANS OF MAINE 


McInnis, John, organist. Address, Rock- 
land, Me. 


McIntire, Helen, vocalist; mem. Women’s 
Choral Society. Address, R. F. D. No. 
4, Portland. Res., Falmouth Foreside, 
Me. 

McIntire, Paul H., organist, trumpeter; b. 
No. Yarmouth, Me., Oct. 19, 1895; s. 
Edwin M. and Grace N. McIntire; m. 
Helen L. Hatch, May 3, 1918; ed. Bow- 
doin College; studied with his mother 
and E. G. Blanchard; organist M. E. 
Church, Falmouth Foreside; mem. Port- 
land Municipal Orchestra and Yar- 
mouth Band; former leader Bowdoin 
College Band and mgr. of the orchestra. 
Vocation, school teacher. Address, R. 
F. D. No. 4, Portland, Me. Res., Fal- 
mouth Foreside, Me. 


McKay, Helen E., teacher of piano, or- 
ganist; b. Houlton, Me., June 21, 1889; 
d. Rev. Kenneth and Margaret A. Mc- 
Kay; grad. American Inst. of Applied 
Music, N. Y.; studied with Kate Chit- 
tenden; charter mem. Houlton Music 
Club and held various offices in same; 
formerly org. Cong. Church; mem. B. 
and P. W. Club, Houlton; Three Arts 
Club, N. Y. Address, 175 W. 85th St., 
Nea 


McKeen, Lloyd Donald, conductor, teach- 
er violin and orchestral music in high 
school; b. Belfast, Me., Sept. 18, 1892; s. 
Albert J. and Elmira (Sholes) McKeen; 
ed: Belfast. H. S.;° Shaw's Bus: Goll; 
Museum of Fine Arts and Fenway Sch. 
of Illus.; m. Bessie J. Stuart, Oct. 15, 
1921; orchestra leader, I2 yrs.; sign 
painter, 7 yrs.; comm. Am. Legion; Ma- 
son. Res., 22 Hight St., Belfast, Me. 


McKenney, Ida E., m.t. Address, Milo, 
Me. 

McKenney, Luda Mabel, teacher of piano; 
b. Bangor, Me., Aug. 17, 1898; d. Emer- 
son and Mabel Effie (Cole) McKenney; 
ed. public schools of Bangor; studied 
piano with Mrs. M. D. Barnes and C. 
Winfield Richmond; voice, C. Fred 
Jackson of Philadelphia; mem. Eastern 
Maine Festival Chorus; soloist Ham- 
mond St. Congregational Church, Ban- 
gor. Address, 491 Ohio St., Bangor, 
Me. 

McKenzie, Marguerite C., teacher of 
piano; b. St. Stephen, New Brunswick; 
d. John K. and Catherine McKenzie; ed. 
Rumford High School and Westbrook 
Seminary; studied at N. E. Conserva- 
tory and with F. J. Rigby, F. F. Lincoln, 


« 


Homer Humphrey and Harris S. Shaw; 
organist, Universalist Church, Rum- 
ford; pianist, Rumford Community Or- 
chestra. Address, 201 Knox St., Rum- 
ford, Me. 

McLean, Mrs. Bessie, organist. Address, 
So. Portland, Me. 

McLellan, Harry, composer, organist, 
choirmaster; b. Bath, Me. June 22, 
1863; s. Charles H. and M. Louisa Mc- 
Lellan; m. Harriet S. Johnson, May 6, 
1896; studied with George W. Marston, 
Portland, Henry E. Duncan and Harry 
Rowe Shelley of New York; formerly 
choirmaster Grace Church, Bath, and 
also mem. choir of Church of the Heav- 
enly Rest, New York; was first director 
of Mendelssohn Club of Bath, now an 
honorary member of that organization; 
composer of many songs, 
“Thine Eyes Still Shine for Me,” “Es- 
tranged,” ‘“Heartsease,”’ “Rest and 
Sleep,” “Nevermore,” “Cavalier’s Song,” 
“Blessed Dreams,” “Te Souviens-tu,” 
etc.; for piano, “Morning Serenade,” 
“Evening Serenade,” “Corona Waltzes,” 
and others; for male voices, “Madrigal 
—Lend Your Ear Pretty Maid”; sacred 
music, “‘O Word of God Incarnate,” and 
“OQ Jesu Thou Art Standing,” for cho- 
rus choir with tenor solo; for full or- 
chestra, “Perplexity,” “Dream of the 
Dance,” and “Daffodil Dance”; for 
strings, “Ludeah”; collaborated with na- 
tionally known librettists as Cheever 
Goodwin, Frederick Rankin, and Clay 
M. Greene in the light operas, “The Re- 
gatta Girl,” “Cocheta,” “Princess Mad- 
cap,” and others produced in New York 
and other cities; spent two winters in 
Germany in study; spends part of each 
year abroad; author of newspaper arti- 
cles on musical matters, travel, and mu- 
sical criticism. Retired. Permanent 
address, Room 303, 85 Exchange St., 
Portland, Me. 

McLellan, James Alexander, church or- 
ganist; b. Bath. Me.; s. John Houghton 
and Louise McLellan; studied piano 
with Mrs. Jesse Berry, Anna Howell, 
Mrs. Mary Duncan, Alice McDowell; 
organ with Wallace Goodrich, Henry 
Dunham and Catherine Luce: solfeggio 
with Mrs. Warner; piano and harmony 
with Jane Foreitier; and special student 
for 3 yrs. at N. E. Conservatory; mem. 
Me. Festival Chorus and Portland Psy- 
chology Asso.; formerly org. at Sweden- 
borgian Church, Winter St. Cong. and 
People’s Baptist Church, Bath, Kenne- 


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BIOGRAPHICAL SECTION—1927-1928 429 


bunk Cong., All Soul’s Univ., and supply 
at St. Luke’s Cathedral, Portland. Ad- 
dress, 240 State St., Portland, Me. 


McMennamin, Carrie L., teacher of piano 
and orchestra leader; b. Houlton, Me., 
Dec. 31, 1869; d. George A. Gerow and 
Rest B. Green; m. John E. McMenna- 
min, June 3, 1896; organist Episcopal 
Church. Address, Limestone, Me. 


Melcher, Margaret Jane, teacher of piano 
and organ; b. Brunswick, Me., Dec. 30, 
1864; d. Daniel M. and Margaret (Cham- 
berlain) Melcher; organist at Epis. 
Church. Res., 933 High St., Bath, Me. 


Meleod, Albertina M., m.t. Address, Rum- 
ford, Me. 

Menish, Esther, vocalist; mem. Women’s 
Choral Society. Address, 34 Belmeade 
Rd., Portland, Me. 


Merriam, Clarice Emma, pianist and 
teacher; b. Readfield, Me., Oct. 25, 1890; 
d. Eli and Celia J. Haines; grad. Port- 
land High School; studied with Frank 
L. Rankin, Portland, and Ellen Bronson 
Babcock, Mrs. A. M. Virgil and Rudolph 
Ganz; mem. MacDowell Club, Portland, 
and Portland Rossini Club. Vocation, 
teacher in Portland since 1908. Address, 
111 Payson St., Portland, Me. 


Merrill, Alice Knight, teacher of piano, 
accompanist, violinist, organist; b. Fal- 
mouth, Me., June 26, 1882; d. Columbus 
and Octavia Prince Knight; ed. West- 
brook Seminary; studied piano with 
Prof. E. A. Blanchard; violin with 
Frank Burnham and Bertha Webb; 
played violin in Pleasant Hill Orch.; 
piano in the Merrill Orchestra; mem. 
First Cong. Church, Falmouth, and or- 
ganist for 48 yrs.; mem. Falmouth His- 
tory Club. Address, Falmouth, Me. 


Merrill, Barbara Elizabeth, organist; b. 
Augusta, Me., Nov. 30, 1892; d. Treby 
and Amie (Barbour) Johnson; m. Ar- 
thur S. Merrill, Aug. 16, 1917; organist, 
Unit. Church, 1915-16, Univ. Church, 
1919-20, Cong. Church, 1924; asst. li- 
brarian at Lithgow, 1908; filing clerk, 
Augusta State Hosp., 1914-16; mem. 
American Legion Auxiliary; Kinder- 
garten Mothers’ Club. Res., 84 Prospect 
St., Augusta, Me. 

Merrill, Mrs. Freeman, organist; studied 
with Grace B. Howes; org. Pine St. 
Methodist Church, Bangor. Address, 
Bangor, Me. 

Merrill, Mrs. Gertrude S., vocalist (so- 
prano); mem. Portland Festival Chorus; 


.mem. Portland Polyphonic Society. 
Address, 42 Stevens Ave., Portland, Me. 


Merrill, Gladys Helen, cellist; b. Solon, 
Me., Aug. 1, 1893; d. Leon S. and Alice 
Wilson Merrill; ed. University of Maine; 
studied with Adelbert Sprague; mem. 
Bangor Symphony Orchestra; mem. 
Phi Mu Sorority, Phi Kappa Phi Fra- 
ternity, Rebekahs and Grange. Voca- 
tion, teacher of French and History. 
ype: University of Maine, Orono, 

e. 

Merrill, Harry F., vocalist (bass); soloist, 
oratorio and concert; has sung leading 
roles in nearly all the oratorios produced 
in Portland for 40 yrs.; studied with W. 
H. Dennett. Vocation, banker; Treas. 
Fidelity Trust Co. Res., 94 Emery St., 
Portland, Me. 


Merrill, Henry Foster, vocalist (bass); b. 
Portland, Me., Feb. 15, 1864; s. Samuel 
N. and Elizabeth Foster Merrill; ed. 
Colby College (A.M. 1924); m. Mabel 
A. Randall; Chairman Music Commis- 
sion, Portland, for 10 yrs., and precentor 
at Portland Municipal Sunday Concerts 
for greater part of that time; Past Pres- 
ident and honorary member Portland 
Men’s Singing Club; mem. Portland, 
Cumberland, Rotary and Lion’s Clubs; 
Mason. Vocation, merchant; 46 yrs. 
with Randall & McAllister, coal dealers; 
Pres. of the Port of Portland; Chairman 
N. E. Council; Vice Pres. National 
Rivers and Harbors Congress; Trustee 
State Reformatory for Men. Res., 5 
Eastern Promenade; o., 84 Commercial 
St., Portland, Me. 


Merrill, Marcia, vocalist (mezzo contral- 
to), soloist; studied with Mrs. Dudley 
Fitts, Boston; mem. Portland Rossini 
Club; soloist church choir, Brockton, 
Mass.; concert and oratorio. Address, 
94 Emery St., Portland, Me. 


Merrill, Mrs. Sadie L., pianist; b. West 
Scarboro, Me., July 8, 1808; d. Joshua 
D. and Etta A. Milliken; studied with 
R. O. Roberts, Saco, and Mrs. Rupert 
Neily, Portland. Address, R. D. No. 6, 
Box 75, So. Portland, Me. 


Merrill, Wallace L., instrumentalist, clar- 
inet and cornet; b. Cumberland Center, 
Me., Dec. 14, 1865; s. P. Adam and Hen- 
rietta (Burton) Merrill; m. Harriet Cut- 
ler, June 23, 1906; ed. Greeley Institute; 
mem. old Cumberland Band. Vocation, 
building and farming. Res., R. D. No. 2, 
Cumberland Center, Me. 


Mershon, Harry G., vocalist (tenor); 


430 


mem. Portland Polyphonic Society. 


Address, Portland, Me. 


Metcalf, Dr. Charles A., vocalist; mem. 
Bach choir, Bangor. Address, Bangor, 
Me. 

Meyer, Mrs. Marion D., mt. 
Eastbrook, Me. 


Michaud, Ozella, teacher of violin. Ad- 
dress, 205 Main St., Sanford, Me. 


Millay, Edna St. Vincent, poet, librettist; 
b. Rockland, Me., Feb. 22, 1892; d. Henry 
Tolman and Cora (Buzzelle) Millay; 
A.B. degree, Vassar, 1917; LL.D. hon- 
orary degree, Tufts College, 1925; m. 
Eugen Jan Boessevain, 1923; winner of 
Pulitzer Prize ($1000), 1922, for best vol- 
ume of verse; author of the book for 
Deems Taylor’s Opera, “The King’s 
Henchman,” and many poems of note. 
Address, care of Harper Bros., New 
York City. 

Millay, Velma Willis, pianist, organist; 
mem. Portland Branch N. E. Chapter 
Am. Guild of Organists; mem. Chamber 
Music Club, Portland; music teacher. 
Address, 95 Pine St., Portland, Me. 


Miller, Carrie Ella, vocalist (contralto); b. 
Durham, Me.; d. Samuel Robinson and 
Elizabeth Hodgkins Miller; ed. public 
schools of Portland and Kent’s Hill 
Seminary; studied with W. Stockbridge, 
W. H. Dennett, Portland, and Myron 
Whitney, Boston; soloist 7 yrs. Pine St. 
Cong. Church, Lewiston; Pres. B. & P. 
W. Club 3 yrs.; Treas. Stanton Bird 
Club; mem. Eastern Star; author, Birds 
of Lewiston-Auburn and Vicinity; for- 
mer mem. Festival Chorus; first Pres., 
Spinet Club, and mem. 1894 to 1917, 
when it merged into the Philharmonic. 
Vocation, banking. Address, 36 Cottage 
St., Lewiston, Me. 


Miller, Eva Joan, teacher of violin; b. 
Auburn, Me., May 14, 1907; d. Morris 
M. and Sarah E. Miller; studied with 
Leigh Fenderson and Mark Fonaroff, 
N. Y.; ed. Inst. Musical Art, N. Y., Bos- 
ton University and summer course at 
Inst. of Normal Methods, Auburndale, 
Mass.; mem. Portland Rossini Club. 
Vocation, music supervisor of No. Ber- 
wick and Wells, Me. Address, 141 
Hampshire St., Auburn, Me. 

Miller, Mrs. Martha M., m.t. Address, 24 
Kidder St., East, Portland, Me. 


Miller, Thor, violinist, cellist; b. Portland, 
Me., Nov. 19, 1900; s. Andrew and 
Amelia Miller; ed. Univ. of Maine and 


Address, 


MUSIC AND MUSICIANS OF MAINE 


B. U. Medical School; studied with 


David Fisher and Joseph Korda; Ma- 


son; mem. Lambda Chi Alpha, Sigma 
Phi Sigma, and Alpha Kappa Kappa; 
mem. theatre trio with David Fisher and 
Raymond Coburn; mem. several con- 
cert trios. Address, 194 Mass. Ave., 
Portland, Me. 


Millett, Mrs. Muriel M., vocalist (so- 
prano); mem. Women’s Choral Society; 
mem. Portland Festival Chorus. Ad- 
dress, 247 Congress St., Portland, Me. 


Milliken, Philip, vocalist; mem. Portland 
Men’s Singing Club. Address, 11 Berke- 
ley St., Portland, Me. 


Mills, Lois F., teacher of piano; mem. 


Portland Rossini Club; pianist, Philhar- | 


Address, 82 Park Ave., 


monic Trio. 
Portland, Me. 


Miner, Antonia Sawyer, impresario, con- 


cert artist (contralto), church soloist; 


b. Waterville, Me.; d. Asher M. and 
Adeline Chase Savage; ed. public 
schools at Waterville and Coburn Clas- 
sical Institute; m. Henry Hubbard 
Sawyer, later married Ashley Harrison 
Miner; studied with Harriet Long, Bos- 
ton, Charles R. Adams, Warren Daven- 
port, Ivan Morowski; also in New York, 
London and Paris; studied diction with 
Leon Jancey and in Paris with Anna 
de La Grange, in Germany with Mrs. 
Victor Beuliam; studied Leider German 
with George Henschel; coached for ora- 
torio in London with Sir Joseph Barnby 
and later sung in oratorios in London 
for him; has sung in many churches; 
was soloist I2 yrs. in the Old First Pres- 


byterian Church on Fifth Avenue and 8 — 
yee at the Jewish Temple on Fifth Ave., 


Y.; as concert artist has appeared 
in all the principal cities in the country; 
toured America for one season with 
Anton Seidl; as impresario has been 


manager for some of the most famous — 


artists in the world; founded music 


center in Metropolitan District of New © 


York. Address, Antonia Sawyer, Inc., 
Aeolian Hall, New York City, and 106 
Central Ave., White Plains, New York. 


Miner, William Francis, band leader; b. 
East Providence, R. I., March 3, 1873; 
ed. elementary and high schools. East 
Prov., R. I., and A.B. degree Brown 


University; mem. Rhode Island Nat. — 
Guard 6 yrs.; leader of Wheeler’s Band 


of Farmington. Vocation, superintend- 
ent of schools. Res., Farmington, Me. 


ed ae = a - aieie , 
OLS LE ee ee ee eee Loe Pe ee ee ee ee ee ee eT Pee 


BIOGRAPHICAL SECTION—1927-1928 431 


Mitchell, Charles Banks, instrumentalist 


(mandolin, mandola, mando-cello and 
mando bass); b. Portland, Me., June 22, 
1892; s. George W. and Ada L. Mitchell; 
m. Elizabeth Pike, Oct. 22, 1921; ed. 
Portland, Me.; studied with S. A. 
Thompson; mem. Thompson’s Mando 
Orchestra; mem. Woodfords Club, St. 
Albans Commandery, K. T., Kora 
Shrine, 32° Scottish Rite, Maine Consis- 
tory. Vocation, civil engineer. Address, 
Kezar Falls, Me. 


Mitchell, Mrs. Ethel L., vocalist; mem. 
Women’s Choral Society. Address, East- 
land Hotel, Portland, Me. 


Mitchell, Etta Andrews, teacher of piano; 
vocalist (soprano); b. Turner, Me., 
March 28, 1886; d. Seth Dean and Flora 
Lombard Andrews; studied with E. W. 
Hanscom; mem. Philharmonic Club, 
Auburn, Me. Address, Saints Rest, 
Buckfield, Me. 


Mitchell, Margaret P., school music super- 
visor. Address, Islesboro, Me. 


Mogan, Matthias F., mem. Warren Male 
Quartette. Address, Westbrook, Me. 


Monteith, J. A., mem. Favorite Four Male 
Quartette. Address, Rumford, Me. 


Montgomery, John H., vocalist; former 
mem. Portland Weber Club and Festi- 
val Chorus. Address, 174 Eastern Prom- 

_ enade, Portland, Me. 


Montpelier, Yvonne, teacher of piano, ac- 
companist; mem. Portland Rossini Club, 
Portland Polyphonic Society and Mac- 
Dowell Club. Studio, 562 Congress St., 
Portland, Me. 


Moody, Edna Luetta, vocalist (mezzo so- 
prano); teacher of piano; b. Richmond, 
Me., April 9, 1898; d. Arthur B. and 
Alice M. Moody; ed. St. Joseph’s Con- 
vent and at N. E. Conservatory; studied 
voice with L. B. Cain, Nicolo Oulu- 
kanoff, Rupert Neily and Lazar S. Sam- 
oiloff of N. Y.; piano with Sister Caro- 
lyn, Frank S. Watson and Dr. Latham 
True; mem. Women’s Choral Society. 
Address, 28 Lincoln St., Portland, Me. 

Moody, Florence, m.t. Address, 38 Church 
St., Gardiner, Me. 

Moody, Jessie C., pianist; mem. Cecilia 
Club, Augusta. Address, Augusta, Me. 


Moore, Dorothy M., violinist; mem. Schu- 
bert Quartet, Portland. Address, Port- 
land, Me. 

Moore, Mrs. E. G., m.t. Address, 127 
Brunswick Ave., Gardiner, Me. 


Moore, Grace Thompson, music teacher, 
orchestral leader and accompanist; b. 
Prospect Harbor, Me.; d. Samuel Oscar 
and Ellen Hutchings Moore; ed. East 
Maine Conference Seminary, Bucksport, 
Me.; studied with B. J. Lang, Boston; 
leader and manager Grace Thompson 
Moore Trio; charter mem. Musicians 
Club, New York; mem. Board of. Trus- 
tees Professional Woman’s League, N. 
Y.; mem. Maine Women’s Club of New 
York, Maine Society of N. Y., Woman’s 
Roosevelt Memorial Association, Inc.; 
author, “Home,” “The Birches,” ‘“Au- 
gust in Maine,” “Vacation Days,” “Our 
Soldiers,” “Fulfillment,” “Daybreak,” 
“The Squirrel,” “A Protest,” “Youth,” 
“To a Wee Gray Cat,” “A Beloved 
Gypsy,” “Life,” “Who Knows?” “Spring- 
time Up In Maine,” “Lindbergh,” and 
other poems; including a large collec- 
tion of verses for children. Summer 
home, “The Birches,” Prospect Harbor, 
Me. Address, The St. Augustine, 96 
Sterling Place, Brooklyn, N. Y 


Moore, Mabel Cutler, teacher of piano; b. 
Farmington, Me., Dec. 6, 1880; d. Rev. 
Albert Weston and Sarah Frances 
(Norton) Moore; studied piano with B. 
J. Lang; piano and harmony with Mal- 
colm B. Lang, Boston; harmony and 
counterpoint, Siegel-Meyers; grad. Cor- 
respondence School, Chicago; taught 
privately in Lynn and Boston 14 yrs. 
Address, Cliftondale, Mass. 


Moreau, Bernadette, org. Cathedral of the 
Immaculate Conception, Portland. Ad- 
dress, 126 High St., Portland, Me. 


Morey, Mrs. Frank A., vocalist (alto); b. 
Lewiston, Me., Oct. 2, 1866; d. Oscar 
G. and Phebe C. Douglass; m. Frank 
A. Morey, June 24, 1880; studied with 
Homer Norris; mem. Pine St. Cong. 
Church Choir, Bates St. Baptist and 
Main St. Free Baptist; mem. Philhar- 
monic Club, Festival Chorus, Cosmos 
Guild, Twin City Parliamentary and Mt. 
Olivet Chap., O. E. S.; mem. Clef Club, 
1895 to 1907. Address, 161 Wood St., 
Lewiston, Me. 


Morgan, Mrs. Gladys St. Clair, vocalist 
(contralto); music editor; b. South 
Hope, Me., Nov. 15, 1886; d. R. L. and 
Grace St. Clair Jones; m. William E. 
Morgan, May 22, 1925; studied with 
Mrs. Lillian S. Copping, Agnes Pooler, 
Clarence Pendleton and Allan H. Ram- 
say; mem. quartet Univ. Church; mem, 
Methebesec Club; mem. Exec. Board of 


432 MUSIC AND MUSICIANS 


Rubinstein Club; former mem. Wight 
Philharmonic Society; music editor 
Rockland Courier-Gazette. Address, 462 
Old County Road, Rockland, Me. 


Morin, Rhea Couillard, concert and opera 
artist (soprano); began study of piano 
at age of five; studied voice with Rupert 
Neily and Mrs. F. P. Clark; has ap- 
peared in many Maine and Mass. cities. 
Address, Lewiston, Me. 

Morin, Josafa, violinist, teacher and _con- 
ductor; b. St. Vital, Lampton, P. Q., in 
1891; studied with Arthur Brunelle of 
Lewiston, Fred A. Given of Portland, 
Franklin Holding of Boston, Ovide 
Musin and the Belgian Conservatory of 
Music, N. Y. City; studied theory with 
Edward Kilyeni of N. Y.; appeared in 
recital in New York, at the Strand 
Theatre, Portland; ‘violin soloist with 
Orpheon Chorale Society, Lewiston, in 
1916; former mem. Capitol Theatre Or- 
chestra and concert master at Loew’s 
State Theatre, New York; former pro- 
fessor of violin at Gordon College of 
Music, Brooklyn, N. Y.; in 1923 he estab- 
lished the Belgian School of Violin in 
Lewiston; form. cond. of the Lewiston- 
Auburn Symphony Orchestra. Res., 112 
Lisbon St., Lewiston, Me. 


Morong, Mrs. Walter W., mem. Mac- 
Dowell Club. Address, Falmouth Fore- 
side, Me. 

Morris, Frank, violinist. Address, 88 Park 
St., Portland, Me. 

Morrison, Jennie King (see Mrs. Frank J. 
Bragdon). 

Morrison, Margery, musical director, coach 
and répétiteur; b. Skowhegan, Me.; d. 
Lucius Lincoln and Estella Sawyer 
Morrison; ed. Skowhegan High School 
and Carleton College, Minn.; orchestral 
pianist A.F.M.; studied with Julius 
Hartt, Kate Chittenden, and in Fon- 
tainebleau, Milan and Paris; has direct- 
ed opera for Milton Aborn and has had 
professional connection with French 
Opera in San Francisco and the French- 
American Opera-Comique in New York 
and has lectured for the New York 
Board of Education on Edward Mac- 
Dowell. Res. Hotel Somerse:, 150 W. 
47th St., New York City, N. Y 

Morse, Mrs. Celia, vocalist; mem. Wo- 
men’s Choral Society. Address, 147 
Rochester St., Westbrook, Me. 

Morse, Lloyd Ernest, instrumentalist 
(bassoon); b. Millinocket, Me., Aug. 10, 
1905; s. Ernest E. and Vena R. Morse; 


OF MAINE 


mem. Portland Municipal Orchestra; 


former mem. Portland Orchestral So- 


ciety; mem. 13 Club. Address, 90 Brack- 
ett St., Portland, Me. 4 


Morse, May, m.t. Address, 75 Green St., 
Bath, Me. 

Morton, Agnes Louise, organist; b. Paris, 
Me., Oct. 20, 1862; d. Samuel Fessenden ~ 
and Louise (Keene) Briggs; ed. Oxford ~ 
Normal Inst.; m. William H. Penfold, 
June 30, 1885; 2d William P. Morton, — 
Feb. 12, 1908; church organist for 20 ~ 
yrs.; daily correspondent for Journal, — 
18 yrs.; Pres. and Sec. Seneca Club; 
Pres. and Sec. of Euterpean Club; Com- 
munity Club. Res., So. Paris, Me. 


Moulton, Mrs. Marion A., vocalist; mem. 
Women’s Choral Society; leader Young — 
People’s Choir, West Cong. Church. — 
Address, 19 Roberts St., Portland, Me. — 


Mower, Mildred Louise, teacher of piano; 
b. Auburn, Me, Dec. 17, 1897; d. Na- 
thaniel Lincoln and Grace Wilder 
Mower; ed. Auburn, Me.; studied N. E. 
‘Conservatory; mem. Eastern Supervi- 


sor’s Conference; Philharmonic Society, 


Auburn, Vocation, supervisor of music _ 
in public schools in Lisbon Falls. Ad- — 
dress, Lisbon Falls. Mail address, 11 ~ 
Forest Ave., Auburn, Me. a 


Mueller, Ruth Cunard, organist; b. Bloom- 
ington, Ill.; d. Francis A. 
Cunard Balles; m. John H. Mueller, 
July 6, 1904; ed. Wesleyan School of 
Music and Northwestern Univ.; studied 
with Mrs. John R. Gray, O. R. Skinner, ~ 
Alice Doty and William Hubbard Har- — 
ris; org. Unitarian Church, Castine, — 


Me.; chairman Music Com. Woman’s — 
Club, Castine; former mem. Amateur — 


Musical Club, Bloomington, Ill. 
dress, Castine, Me. 4 
Mulvaney, Delia Dunn, vocalist; b. Brew- — 
er, Me.; d. Thomas Dunn; m. James D. 
Mulvaney, June 20, 1888; ed. Brewer, — 
Me.; studied with Prof. Lyon and Alan — 
Haycock; mem. Schumann Club. Ad- 
dress, 139 Pine St., Bangor, Me. 
Munro, Ernest Albert, 
(trap drums, bells, xylophone); b. Hol- — 
yoke, Mass., July 18, 1897; s. Daniel and — 
Lilla Mank Munro; m. Aletha P. Hyler, — 
June 16, 1918; ed. Rockland, Me.; stud- — 


Ad 


ied with John D. McCarthy, Lewiston, — 
Me.; mem. Rockland Concert Band and — 


Marston’s Orchestra; mem. Masons, — 
Blue Lodge, Chapter, Council, 
mandery and Shrine, Elks, Lewiston 
Musicians, Local 409, West Palm Beach © 


and Jane © 


instrumentalist 


Com- — 


BIOGRAPHICAL SECTION—1927-1928 


Musicians, Local 806, Loyal Order of 
Moose, 1461, West Palm Beach; played 
three seasons in Palm Beach; one sea- 
son under Basso’s Del-Ra-Tone Park 
Orch.; one season with Charlie Sharp 
and his Melody Boys; Mirimar Inn 
Orch., under Ed. Andrews of Boston, 
and with Dudley Doe’s Society Orch.; 
sub. in the West Palm Beach Band un- 
der Everett Allen Moses. Address, 55 
Grace St., Rockland, Me. 


Murray, Harvey, organist, music teacher, 
composer. Address, Washington, D. C. 


Murray, Mary E., music teacher, organist; 
org. and choir dir. Sacred Heart Church. 
Address, 120 Grant St., Portland, Me. 


Muzzey, Arthur E., organist and music 
teacher; b. Rollinsford, N. H., July 18, 
1870; s. George H. and Elizabeth Han- 
son Muzzey; m. Mary L. Goding, Aug. 
15, 1898; ed. Berwick Academy; studied 
with Chas. H. Tobey; formerly org. St. 
Mary’s R. C., Dover, and 1st M. E., 
Tampa, Florida; also Beacon Univer- 
salist Church, Brookline, Mass., and 
Blockley Baptist Church, Philadelphia, 
Pa.; org. First Parish, Dover, N. H.; 
Sec. St. John’s Lodge, A. F. and A. M., 
and Unity Chapt., No. 32, R. A. M.; 
mem. Rotary Club. Address, Portland 
St., So. Berwick, Me. 

Nash, Helena, m.t. Address, 54 Elm St., 

~ Lewiston, Me. 

Nason, Hamilton, dramatic tenor, vocal 
teacher and concert artist; b. Brown- 
ville, Me., Nov. 21, 1875; s. Horace B; 
and Jessie Merrill Nason; m. Elsie 
Graff, May 7, 1912; ed. Bates Coll., 1901; 
studied voice with Madame Schoen- 
René, N. Y.; violin with Herr Oswold 
Schmidt; piano with Fannie Wilson 
Palmer; composition with P. H. P. Ryd- 
ning; familiar with the French, German, 
Italian and Scandinavian languages; 
appeared in leading cities in U. S., Eu- 
rope and Canada; composer, ‘Mass in 
F,” “Communion Service in C Minor,” 
“Communion Service in E flat.” Studio, 
515 Meagly-Tichnor Bldg., Portland, 
Oregon. 

Neily, Anne, concert pianist, teacher of 
piano; b. Alton, Ill., Sept. 1, 18901; ra 
William D. and Annie (Curtis) Mc- 
Adams; ed. Alton, Ill, U. Decatur, 
Paris, France; m. Rupert Neily, Feb. 12, 
1916; traveled Canada and U. S. in con- 
cert work, 1910-16; co-dir. Me. Conserv- 
atory of Music; mem. Portland Rossini 
Club and Women’s Choral Society. 


433 


Res., Stony Brook Road, Cape Eliza- 
beth, Me. Studio, Baxter Block, Port- 
land, Me. 


Neily, Rupert, dir. music, teacher of sing- 
ing; b. Lawrencetown, Nova Scotia; s. 
George and Lucetta (Turpel) Neily; ed. 
English H., Lynn, Mass., Priv. Inst. 
Am. and Italy; m. Anne M. McAdams, 
Feb. 12, 1916; organist and choirmaster 
at Swampscott, Beverly, Newton, Mass.; 
supervisor music, Westerly, R. L.; 
teacher singing, Hollins Coll., Va., Lynn, 
Westerly, N. Y. City, Portland; dir. Me. 
Conservatory of Music, Portland; dir. 
Williston Choir; founder and dir. Wom- 
en’s Choral Society, Portland. Res., 
Stonybrook Road, Cape _ Elizabeth. 
Studio, Baxter Block, Portland, Me. 


Nelke, Bernice, m.t. Address, 137 College 
St., Lewiston, Me. 


Nelson, ‘Alice Harford, vocalist (soprano); 
Sec-Treas. Portland Festival Chorus, 
22 yrs.; mem. for 30 yrs. Address, 187 
Clark St., Portland, Me. 


Nelson, Donna E., school music super- 
visor. Address, Lincoln, Me. 


Nelson, Mrs. Mary Allen, vocalist, solo- 
ist (contralto) ; studied with Frank Her- 
bert Tubbs of N. Y.; church and con- 
cert soloist. Address, Bangor, Me. 


Nelson, Nels J., instrumentalist (E flat 
tuba); b. Jemptland, Sweden, July 3, 
1896; s. Paul and Mary Nelson; m. 
Mabel Catherine Roberts, June 16, 1916; 
ed..Monson, Me.; studied with Walter 
Jackson; mem. Dover-Foxcroft Band; 
mem. Modern Woodmen of America, 
Knights of Pythias, Knights of the Mac- 
cabees of the World. Vocation, auto- 
mobile mechanic. Address, Harvey St., 
Dover-Foxcroft, Me. 


Newcomb, Ruth, vocalist; mem. Bach 
Choir, Bangor. Address, Bangor, Me. 


Newman, Mrs. Carrie, vocalist; mem. 
poe Choir, Bangor. Address, Bangor, 
e. 


Newman, Edith, Sec. Augusta Symphony 
Orchestra. Address, Augusta, Me. 


Newman, Mrs. Neal, music teacher; ac- 
companist, Festival Chorus. Address, 
Ellsworth, Me. 


Newton, Elsie E., vocalist (soprano) and 
music teacher; b. Sanford, Me., Nov. 8, 
1903; d. Samuel G. and Julia E. New- 
ton; studied with Harry Stott and Ru- 
pert Neily; mem. Unitarian Church 
Choir; mem. Ethelbert Nevin Club, 


434 


“iat ‘ iis 


MUSIC AND MUSICIANS OF MAINE 


Rhuhamah Rebekah Lodge, 53, I. O. O. 
F. Vocal teacher. Address, 4 East St., 
Sanford, Me. 


Nicholson, Elizabeth, vocalist; 
with Jennie King Bragdon. 
Cornell St., So. Portland, Me. 

Nickerson, Mrs. Ruth, vocalist; mem. 
Women’s Choral Society. Address, 32 
Thomas St., So. Portland, Me. 


Nickerson, Viola Isa, vocalist (soprano); 
De arortiand 3: Me. set. 210.7 1602: 
Charles L. and Isa Starling Nickerson; 
mem. People’s M. E. Church Choir, So. 
Portland; mem. Maine Music Festival 
Chorus, Portland, Me. Vocation, clerk. 
Address, 6 Alder St., So. Portland, Me. 


Nissen, Mrs. Sadie H., vocalist. Address, 
23 North St., Portland, Me. 


Nixon, Harry E., vocalist (baritone); b. 
Portland, Me., May 3, 1882; s, Edward 
and Hattie Ingraham Nixon; m. Inez 
M. George, April 30, 1914; studied with 
Adelbert Sjoholm; mem. Portland Lodge, 
F. & A. M., Mt. Vernon Chapter, Elks, 
Mystic Lodge, I. O. G. T. Vocation, 
lawyer. Address, 456 Woodford St., 
Portland, Me. 

Nixon, Inez M., vocalist (soprano); b 
Lowell, Mass., Sept. 24, 1888; d. Ranson 
N. and Adriana George; m. Harry E. 
Nixon, April 30, 1914; studied with Hen- 
rietta Rice; mem. choir at Central Sq. 
Baptist Church, Woodfords, and War- 
ren Cong. Church, Westbrook. Address, 
456 Woodford St., Portland, Me. 

Norcross, Esther Kathryn, piano teacher; 
b. Old Town, Me.; d. Dr. Joseph and 
Margaret Norcross; ed. Lasell Semi- 
nary; studied with Miss Parkhurst and 


studied 
Address, 


Paul Krummrich; mem. Neeburban 
Club. Address, 6 High St., Old Town, 
Me. 


Norcross, James B., flutist; mem. Kotzsch- 
mar Club and Portland Flutist’s Society. 


Address, 30 Hutchinson St., So. Port- 
land, Me. 
Norton, Mrs. Florence, m.t. Address, 


Parsonsfield, Me. 

Norton, Ruth Knight, teacher of piano; b. 
Portland, Me.; d. Howard E. and Ade- 
laide Merrill Knight; ed. Deering High 
School; studied with Louise Stevenson 
and Alfred Brinkler; org., Congress St. 
M. E. Church, Portland; accompanist 
Juanita Quartette; mem. Deering Or- 
chestra. Address, 904 Baxter Boulevard, 
Portland, Me. 


Norton, Mrs. U. C., conductor and accom- 


panist Jonesport Festival Chorus. Ad- 


dress, Jonesport, Me. 


Noyes, Julia Edwards, vocalist (contral- 
to); b. Portland, Me.; d. Edward Alling 
and Julia Edwards Noyes; ed. Portland, 
Me.; studied with Mr. and Mrs. W. ee 
Dennett, Mrs. Evelyn D. White, Mrs. 
Jennie K. Bragdon, Sally F. Akers, 
Madame Picciotto and M. Georges 
Duquenne of Paris and Maurice Lafarge 
and Ethel Cave-Cole of New York; was 
one of the delegates from Portland Ros- 


sini Club at the Bi-ennial Convention of © 


the Nat. Fed. of Music Clubs, 1924; 
elected to represent the State of Maine 
on the Board of Directors of the Nat. 
Fed. of Music Clubs; in 1926, was re- 
elected at Portland, Oregon; delegate to 
Chicago Bi-ennial, April, 1927; Pres. 
Portland Rossini Club; Pres. Maine 
Federation Music Clubs; ‘director, West- 


ern Maine Festival Association. Res., 
394 Danforth St.. Portland, Me. 
Noyes, Leola Flint, pianist, vocalist, 


teacher of piano; b. Rockland, Me.; d. 
Herbert H. and Eva Thompson Flint; 
m. Warren C. Noyes, Sept. 24, 1913; ed. 
N. E. Conservatory; studied with 
Charles Haven Bishop, Prof. Alfred de 
Voto and Dr. Latham True; musical 
director Junior Harmony Club, Rock- 
land; at age of 13 pianist Bontuit Orch. 
and until graduating from high school; 
composer “Sentry March,” “The Wig- 
wam.” Address, 38 Orange St., Rock- 
land, Me. 

Noyes, Wendell Phillips, organist, orches- 
tra leader; b. St. Albans, Vt., Dec. 1, 
1898; s. John A. E. and Julia Phillips 
Noyes; m. Mary E. Northgraves, June 
18, 1924; ed. Bowdoin College; Studied 
piano with Florence Best LeProhon and 
Raymond W. Coburn; organ with Prof. 
Edward H. Wass; orchestra leader since 
sixteen years old; mem. Victory Theatre 
Orchestra, Tampa, Florida, 1920; former 
mem. Portland Band, Barnard’s Orches- 
tra, Philadelphia, Collin’s Orchestra, Tam- 
pa, Florida, and Ferdinando’s Havana 
Orchestra, N. Y.; mem. Musician’s Un- 
ion and Delta Upsilon; org. St. Peter’s 
Episcopal Church, Portland, 1926; teach- 
er piano, banjo, ‘drums. Vocation, mu- 
sician, salesman. Address, Eastland Ho- 
tel, Portland, Me. 

Nye, Dora Trafton, teacher of piano; b. 
St. Albans, Me, -April 23) (188; 2c; 
Charles C. and Fronia S. (Marston) 
Trafton; m. Floyd G. Nye, Aug. 20, 


on ee | 


ee oe 


ee ee ee ee ae ee 


i ig 


BIOGRAPHICAL SECTION—1927-1928 435 


1906; ed. N. E. Conservatory, Boston; 
studied harmony with Wallace Good- 
rich and Harry Redmond; piano with 
William Kimball, George Pratt Maxim, 
Frederick Lincoln and Carl Stasny; 
pianist at the Bethany Church and ac- 
companist Skowhegan Festival Chorus; 
mem. Woman’s Club, Skowhegan, W. 
C. T. U., Sorosis Club; formerly teacher 
in Hartland, Waterville and Skowhegan; 
contributor to the Etude. Address, 33 
Bush St., Skowhegan, Me. 


Nye, Frank A., cornettist, vocalist (tenor), 


band and orchestra dir.; b. Monroe, Me., 
Oct. 22, 1863; s. David A. and Jane E. 
Nealey Nye; m. Eva E. Tozier, May 20, 
1890; ed. Monroe, Me.; studied with R. 
B. Hall; dir. American Cadet Band; 
formerly leader, Monroe Band, II yrs., 
Searsport Band, 8 yrs., Stockton Springs 
Band, 2 yrs.; played with Hobbs Band, 
Boston, Post 120 Band, Lowell, Mass.. 
Lewiston Brigade Band, Bangor Band 
and Belfast Band; mem. Odd Fellows, 
K. of P., Masons, Royal Arch Chapter; 
composer, “Penobscot Park March,” 
and several others. Vocation, funeral 
director. Address, 353 Stevens Ave., 
Portland, Me. 


Nye, Roger A., soloist, concert artist 
(tenor); b. Fairfield, Me., March 16, 
1893; s. William W. and Cora Belle 
Chapman Nye; m. Marie Elwell, Feb. 
8, 1918; ed. Lawrence High, Colby Col- 
lege and Alviene School of Dramatic 
Arts; studied with Jessie Smith Hub- 
bard, Waterville; Ethelyn Burleigh 
Stubbs, Augusta, and Isidore Braggiotti, 
Italy and Boston; coached abroad at 
Naples and Milan; mem. Music Assoct- 
ates of the State of Maine and mem. N. 
Y. Matinee Musicale; appeared as solo- 
ist Maine Music Festival and before the 
Arkansas Governor and Legislative 
Bodies. Res., 133 State St., Augusta, 
Me. 

Oakes, Frances A., pianist, teacher of 
piano (retired); b. Old Town, Me.; d. 
Hiram and Emily Oakes; studied with 
L. W. Ballard. Address, 61 High St., 
Lewiston, Me. 


Oakman, Carl Shepard, M.D., violinist; b. 
Corinth, Me., Oct. 26, 1876; s. George 
W. and Georgie Clark Oakman; m. Har- 
riet Brooks, Oct. 20, 1915; ed. Harvard 
College and Medical School; studied 
with Emil Mahr at N. E. Conservatory; 
formerly mem. Boston Festival Orches- 
tra; conductor of Pierian Sodality of 


Harvard University, 1899-1900; Pres., 
Fine Arts Society, Detroit, Mich., 1917- 
19; Sec. Chamber Music Society, De- 
troit, 1910-14; Sec. Music Festival Asso., 
Detroit, 1916-21; organized and played 
first viclin in the first string quartette in 
serious work at Harvard Univ. (the 
Haydn String Quartet); charter mem. 
and first Sec. Harvard Musical Club 
Vocation, physician. Res., 319 Riverside 
Ave., Muncie, Ind. 


Oakman, Walter Marion, violinist; b. Cor- 
inth, ‘Me.,- Dec. 11, 1874; ‘s.. Francis 
Marion and Mabelle Waugh Oakman; 
studied with Oscar E. Wasgatt; mem. 
Oakman’s Orchestra; played violin for 
dances and other forms of entertain- 
ment over a large portion of Penobscot 
County for 30 yrs. Vocation, farmer. 
Address, East Corinth, Me. 


O’Brien, Annie J., organist; mem. Port- 
land Chapter N. E. Branch, Am. Guild 
of Organists; org. St. Dominic’s Church. 
Address, 59 State St., Portland, Me. 


O’Brion, Mary Eliza, pianist and music 
teacher; b. Limerick, Me., March 9, 
1859; d. Lewis and Martha Phinney 
O’Brion; ed. Portland; studied with 
George W. Marston, Portland, Giuseppe 
Buonamici, Florence, Italy, Clara Schu- 
mann, Frankfort, Theodor Leschetizky, 
Vienna, and others; debut with Boston 
Symphony Orchestra; engaged in con- 
cert work for several years. Address, 47 
Gardner St., Allston, Mass. 


O’Connor, Elizabeth A., teacher of piano; 
b. Portland, Me.; d. Bernard and Cathe- 
rine Spelman O’Connor; graduate Con- 
vent of Villa Maria, Montreal, Canada; 
studied with Sisters at Villa Maria and 
Portland; organ with Prof. George 
Quimby; substitute organist Cathedral of 
Immaculate Conception, Portland, and at 
So. Berwick. Res., 73 Sherman St., Port- 
land, Me. 


O’Connor, Etta J., m.t. Address, 34 Otis 
St., Bangor, Me. 


Oddy, Frank, Pres. Skowhegan Festival 
Chorus. Address, Skowhegan, Me. 


Odell, Louise Dade, A.A.GO., organist, 
music teacher; b. Hackney, London, 
England, June 13, 1866; d. Jonathan and 
Tulia Dade; m. Rev. Charles F. Odell, 
Sept. 28, 1892; ed. London; studied with 
Rafael Joseffy (piano); Dr. William 
Crane Carl (organ); Clement R. Gale 
(theory): org. Christ Epis., St. Mark’s 
Epis., S. Ignatius and Memorial Chapel, 


436 MUSIC AND MUSICIANS OF MAINE 


N. Y.; mem. St. Cecilia Club, Literary 
Club, Caribou, Fortnightly Club, and 
Philharmonic Club, Tarrytown, N. Y.; 
associate Am. Guild of Organists; ed- 
ited musical column for several years 
Tarrytown Press-Record. Address, 32 
So. Main St., Caribou, Me. 


Odlin, Charles, trombonist. Res., Mitchell 
Road, Cape Elizabeth, Me. 


O’Donnell, Mrs. William, m.t. 
Houlton, Me. 


Ogden, Marguerite, teacher of harp and 
organ; b. Bellows Falls, Vt.; d. Rev. 
Charles T. and Anna Bennett Ogden; 
ed. Ogantz School, Pa.; studied with 
Kursteiner, Reintzel and H. A. Shaw; 
org. Trinity Church, Portland; mem. 
Maine Historical Society; asso. mem. 
American Guild of Organists; Vice 
Pres. Portland Rossini Club; Vice Pres. 
Woman’s Auxiliary Protestant Episco- 
pal Church; author, article on “Greek 
Ecclesiastical Music” in “Greeks of 
America,” by Burgess. Address, 53 
Clifton St., Portland, Me. 


Olcott, Mrs. Evelyn Dutton Fogg, vocal- 
ist (contralto); b. Portland, Me., Jan. 
20, 1880; d. Orrin Stanley and Helen 
Barker Fogg; m. Herman Parker Ol- 
cott, Dec. 22, 1915; studied with Emilio 
Agramonte, Sally F. Akers, Mme. Milka 
Ternina, Mrs. Toedt; mem. choir 4th 
Ave. Presbyterian, West End Presb., N. 
Y. City, First Presb. Church, Brooklyn, 
Westminster Cong., Kansas City; solo- 
ist with Minneapolis Symphony Orches- 
tra, Kansas City Symphony Orchestra, 
New York Oratorio Society, Brooklyn 
Oratorio Society, University Extension 
Concerts, Kansas Univ.; teacher of sing- 
ing School of Fine Arts, Univ. of Kan- 
sas, 1917-18; mem. Rossini Club, Port- 
land, and Women’s Musical Club, Law- 
rence, Kansas. Address, Choate School, 
Wallingford, Conn. 


Orr, Beatrice B., music teacher. Address, 
454 Cumberland Ave., Portland, Me. 


Osborne, Alice Julia, teacher of piano; b. 
St. Albans, Me., Aug. 20, 1866; d. Isaac 
and Laura Trafton Osborne; m. Ellwyn 
Matthews, Aug. 7, 1887; ed. N. E. Con- 
servatory; studied with Frederick J. 
Lincoln; organist Methodist Church, St. 
Albans. Address, St. Albans, Me. 


Osgood, Mrs. Alton R., vocalist (alto); 
mem. Portland Festival Chorus. Ad- 
dress, 346 Stevens Ave., Portland, Me. 


Otis, Mrs. Elizabeth L., vocalist (lyric 


Address, 


soprano); mem. Portland Rossini Club. i 
Address, 5 Crescent St., Portland, Me. 


Otis, Grace M., instrumentalist (mando- — 
lin); studied with Clifford E. Leighton; — 
mem. B. P. W. Club Orchestra and © 
Laura E. Ross Ladies Orchestra. Ad- — 
dress, 146 Sherman St., Portland, Me. 


Ouellette, Reginald, violinist; b. Lewiston, — 
Me., April 18, 1907; s. Pierre and Jenfiie ~ 
(Gosselin) Ouellette; 
studied with Josafa Morin and Henry ~ 
Gifford; mem. Lewiston-Auburn Sym- — 
phony Orchestra; mem. St. Mary’s 
Church Choir (baritone). Vocation, 
shoemaker. Address, 152 Lincoln St., — 
Lewiston, Me. 


Page, Edith Wentworth, teacher of piano; — 
b. Gardiner, Me., Feb. 26, 1874; d. Au- 
gustus C. and Climena Packard Page; — 
studied with H. Kotzschmar. Address, 
57 Chestnut St., Gardiner, Me. 


Page, Madelyn Loy, vocalist, commer. — 
teacher; b. Orono, Me., July 10, 1905; d. 
Chester T. and Clara E. Page; ed. Univ. 
of Maine and Lasell Seminary; studied 
with Carrie Newman, Bangor; Mrs. — 
- Kendall, Boston, and Mrs. Marion Theis, — 
Westbrook; soloist Methodist Church, — 
Orono and Gorham; mem. Annie Lou- — 
ise Cary Club, Gorham, and Women’s 
Choral Society, Portland. Vocation, — 
teacher. Address, 111 Main St., Gor- ~ 
ham, Me. 


ree Doris, m.t. Address, New Sharon, 

e. 

Paine, Edgar H., teacher of piano; Pres. — 
Kotzschmar Club, 1927-28. Address, 103 
Oak St., Portland, Me. 


wets E. Beryl, m.t. Address, Patten, — 
e a 


Palmer, Mrs. Florence Knight, vocalist 
(soprano), soloist, teacher; b. Falmouth, — 
Me., Aug. 30, 1870; d. Alonzo and Mary ~ 
Merrill Knight; m. Fred H. Palmer, — 
Nov. 24, 1897; ed. Westbrook Seminary; _ 
studied with H. Dennett, Sig. ~ 
Olivieri, Sig. Vannucini, Alberto Ran- — 
degger and others; mem. choir High St., — 


Cong. Sq., State St. Churches, Portland, — 


and soloist, Tompkins Ave. Cong. 
Church, Brooklyn, N. Y.; Vice Pres. 


Portland Rossini Club; mem. Choral q 


Art Society; was one of two artists to 
receive special diploma of honor at 
World’s Fair, Chicago, 1893. Address, 
87 Carroll St., Portland, Me. 


Palmer, John, vocalist; mem. Cosmopoli- 
tan Quartette. Address, Portland, Me. 


ed. Lewiston; — 


BIOGRAPHICAL SECTION—1927-1928 


437 


Pappas, Charles, music teacher; b. Ara- 
hova, Greece, Jan. 2, 1901; s. Peter and 
Pandora Pappas; studied with A. M. 
Testa; dir. Lewiston and Auburn Man- 
dolin, Banjo, Guitar, Ukulele Club. Ad- 
dress, Lewiston, Me. 


Paquin, J., Vice Pres. Augusta Symphony 
Orchestra. Address, Augusta, Me. 


Park, Ruth A., violinist, soloist. Address, 
Fairfield, Me. 


Parker, Ardelle, m.t. 
Harbor, Me. 


Parker, Mrs. Gertrude S., pianist. 
- dress, Rockland, Me. 


Parker, Otis Freeman, music teacher and 
bandsman; b. Auburn, Me., Sept. 21, 
1885; s. Dwight H. and Phylena Parker; 
m. Margarett McCarthy, July 25, 1907: 
ed. in public schools of Auburn; studied 
with Prof. Thieme and Frank Rigby, 
trombone and English horn with Myron 
Watson and euphonium with Charles C. 
Johnson; mem. Lewiston Brigade Band 
(euphonium); mem. Barrett’s, Petten- 
gill’s and Parker’s Orchestras (violin): 
mem. A. F. of M., No. 409, Sons of 
Veterans, A. C. Pray Camp, No. 2, Au- 
burn, American Legion; former mem. 
Coast Artillery Band, roth C. A. C. Vo- 
cation, shoemaker. Address, 3134 Bates 
St., Lewiston, Me. 


Parker, Mrs. Walter, violinist; mem. Port- 
land Rossini Club. Address, Cape Eliz- 
abeth, Me. 


Parker, Mrs. W. H., vocalist (soprano); 
mem. Portland Festival Chorus. Ad- 
dress, 64 Morning St., Portland, Me. 


Parmenter, Esther Haley, pianist; b. San- 
ford, Me., Sept. 14, 1893; d. Leroy and 
Grace Frost Haley; m. LeClare Fall 
Parmenter, April 23, 1918; grad. New 
England Conservatory; studied with 
Lucy Dean; mem. Portland Rossini 
Club and The Woman’s Literary Union. 
oe 23 Columbia Road, Portland, 

e. 


Address, Winter 


Ad- 


Parrott, Arthur F., Jr., musician; b. Au- 
gusta. Me., June 9, 1900; s. Arthur F. 
and H. Lillian Parrott; ed. Augusta 
and at University of Maine; studied 
with Carl Liberty; mem. Musicians 
Union, Local 460, Augusta. Vocation, 
salesman. Address, 15 7th Ave., Brook- 
ben, NY. 

Parsons, Mrs. W. H., pianist: accompan- 
ist Newcastle-Damariscotta Festival Cho- 
rus. Address, Damariscotta, Me. 


Patch, Mrs. Clifford, vocalist; mem. Bach 
Choir, Bangor. Address, Bangor, Me. 


Patrick, Catherine, violinist; priv. mem. 
Marston Club; priv. mem. Portland 
Rossini Club; mem. Chamber Music 
Club; former mem. Pleasant Hill Or- 
chestra, Falmouth. Address, 42 West 
St., Portland, Me. 


Patrick, Mrs. Daniel C., pianist; mem. 
Portland Rossini Club. Address, 104 
Deerfield Rd., Portland, Me. 


Pates, Reta, instrumentalist (violoncello); 
mem. Portland Municipal Orchestra. 
Address, Portland, Me. 


Pattee, Lillian Mowry, violinist; b. Dor- 
chester, Mass.; d. Albert Daniel and 
Ella Frances Treat Mowry; m. Sumner 
Chadbourne Pattee, M.D., May 25, 1911: 
studied with Frederic R. Sweetser, Emil 
Mahr, Mabel Beaman, Boston, and at 
N. E. Conservatory; formerly org., Uni- 
tarian Church, Belfast, Me., and mem. 
First Cong. Church Choir, Searsport, 
Me.; mem. John Cochran Chapter, D. 
A. R: Primrose Chapter, ©. E. S.; B. & 
P. Woman’s Club, Nat. Woman’s Civic 
Federation and Unitarian Alliance. Vo- 
cation, artist and teacher of dancing. 
Address, Belfast, Me. 


ce Ada C., m.t. Address, Hampden, 
e. 


Patterson, Mrs. Blanche E., vocalist (so- 
prano); mem. Portland Festival Chorus. 
Address, 241 High St., Portland, Me. 


Patterson, Harriet Frances, music direc- 
tor; b. Winslow, Me., Jan. 19, 1801; d. 
Hollis A. and Maud E. (Grant) Simp- 
son; ed. Winslow and Farmington Nor- 
mal School; m. Sidney W. Patterson, 
June 21, 1916; taught public schools, 
Winslow, 1909-10, Skowhegan, 1911-16; 
teacher of piano; organizer and dir. nor- 
mal piano dept., Coburn; chairman of 
music week com.; dir. mandolin club. 
Res., R. D. No. 41, Waterville, Me. © 


Payson, Donald, composer; s. Franklin C. 
Payson; graduate Harvard College, 1908, 
and Harvard Law School, 1911; m. Mrs. 
Dorothy Bullitt. Vocation, lawyer. Res., 
Falmouth Foreside, Me. Address, R. F. 
D. No. 4, Portland, Me. 

Payson, Mrs. Fred, vocalist; appeared in 
Grand Opera with Mary Garden. Ad- 
dress, So. Hope, Me. 

Payson, Mrs. Herbert, pianist; priv. mem. 


Portland Rossini Club. Address, 71 
Bowdoin St., Portland, Me. 


438 


Peabody, Ruth, school music supervisor. 
Address, Mt. Desert, Me. 


Peacock, Eleanor M., m.t. Address, Read- 
field, Me. 

Pearson, Mrs. Frank, m.t. Address, Houl- 
ton, Me. 

Pease, Isabelle, violinist; mem. Portland 
Rossini Club. Address, 57 Coyle St., 
Portland, Me. 


Peavey, Olive M. (Mrs. William A.), or- 
ganist and soloist (soprano), music 
teacher; b. Orland, Me., May 28, 1875; 
d. of Orrin P. and Mary A. (Hopkins) 
Harriman; m. William A. Peavey, Jan. 
13, 1898; ed. at Bucksport; studied with 
Mrs. Mary Hopkins; org. Methodist 
Church, Bucksport; mem. Bucksport 
Festival Chorus; Sec. of Sunday School; 
org. Eastern Star; Pres. Ladies Aid 
Society,. Address; R= D.3,> Box /50, 
Bucksport, Me. 


Peck, Mrs. Willard, vocalist; mem. Bach 
Choir, Bangor. Address, Bangor, Me. 


Peirce, Louise Dennett, organist, teacher 
piano; b. Bangor, Me., Nov. 12, 18809; d. 
Jacob K. and Annie Riggs Dennett; m. 
Harry E. Peirce, June 27, 1917; studied 
with Helen Dunton Gilchrist; org. First 
Parish Unitarian Church Choir; mem. 
Belfast Musical Society, 1904-1912. Ad- 
dress, Star Route No. 1302, Belfast, Me. 


Penley, Hazel Belle, accompanist, teacher 
of piano; b. Auburn, Me., June 10, 1904; 
d. Walter E. and Ada Hascall Penley; 
studied with Arthur Nash Pettengill; 
org. First Universalist Church, Lewis- 
ton; mem. Philharmonic Club. Address, 
167 Summer St., Auburn, Me. 


Pennell, George W., Sec. Kotzschmar 
Club. Address, 164 Concord St., Port- 
land, Me. 

Pennell, Gladys F., soloist (soprano); b. 
Harmony, Me., Aug. 27, 1896; d. Frank 
P. and Emma C. Pennell; ed. Skowhe- 
gan, Me., and American Institute of Nor- 
mal Methods at Lasell Seminary, Au- 
burndale, Mass.; studied with Mrs. Frank 
B. Hubbard; mem. Methodist Church 
Choir, Skowhegan; Pres. Skowhegan Fes- 
tival Chorus; mem. Skowhegan Sorosis 
Club. Summer home, Orr’s Island, Me. 
Address, 91 West Front St., Skowhegan, 
Me. 

Pennell, Priscilla, violinist; mem. Portland 
Municipal Orchestra. Address, 173 Bol- 
ton St., Portland, Me. 


Percious, Arthur T., violin teacher. 
dress, 156 Free St., Portland, Me. 


Ad- 


MUSIC AND MUSICIANS OF MAINE 


Perkins, David Page, composer, vocalist — 


(first tenor); b. Eastport, Me., March 2, 
1850; s. 
Perkins; 
June 10, 1884; ed. Eastman’s Nat. Bus. 


David and Margaret Brazier — 
m. Margaret W. Fessenden, © 


Coll., Poughkeepsie, N. Y.; studied with | 


John Morgan, Portland, Me.; 
Swedenborgian Church Choir; 
poser, ““Welcome” and words for “Cho- — 
rus of Hunters” by Marston; author, — 


mem. 


com- 


, 


“Time Saving Manner of Conducting — | 
Business,” “History of the Portland So- | 
ciety of the New Jerusalem,” “Improved — 
Rules of Multiplication” and game called — 


“Multi”; founder of the Weber Club, 
1880, Sec. of same; mem. Haydn Asso., 


Maine Festival Chorus (Western Divi- — 


sion); Scribe of Portland Encampment, 
No. 19, I. O. O: F., for 28 yrs See ana 
Treas. Spanish Literary Society; Pa- 
trons of Husbandry, N. E. Order of 
Protection, Temple of Honor, 
Templars. Res.,- 286a Congress St, 
Portland, Me. 


Perkins, Hazel Clary, violinist; b. So. 
Portland, Me., Aug. 28, 1905; d. Charles 
H. and Jennie Perkins; studied with 
David E. Fisher; mem. Portland Munic- 
ipal Orchestra, Marston Club. Voca- 
tion, stenographer. 
mer St., So. Portland, Me. 

Perkins, Mrs. Margaret, org. St. Mary’s 
Catholic Church. Address, Augusta, Me. 

Perkins, Marjorie, m.t. Address, Pray St., 
Gardiner, Me. 


Perry, Charles Sprague, pianist; b. Au- 
burn, Me., May 4, 1878; s. Samuel T. 


Good 


Address, 387 Sum- | 


and Ellen E. Perry; m. Mabel L. Whit- — 


man, Oct. 29, 1903; ed. public schools of 


Auburn; studied with Miss Yeaton and — 
E. W. Hanstom; mem. Payne’s Second ~ 


Regiment Band, 9 yrs. 
Perry’s Orchestra (piano), Abou Ben 
Adhem Lodge, I. O 


(bass drum), — 


O. F., Musicians — 


Union, Local No. 409; Pres. Sprague — 


Club. Vocation, shoe cutter. Address, 


357 Court St., Auburn, Me. 

Perry, E. Beryl, teacher of piano; b. Fort 
Fairfield, Me., Nov. 13, 18901; 
W. and Mora C. Knight Perry: ed. N. 


d. Henry | 


E. Conservatory; studied with Charles 
Dennee; org. Methodist, Unitarian and — 
Episcopal Churches; Vice Pres. Polly- — 


anna Club; 
mittee of the Philomathean Club; mem. 


chairman of Music Com- — 


Eastern Star Lodge, Cong. Church, and — 


Tennis Club. Address, Main St., 
Fairfield, Me. 


Fort 


Perry, Mrs. Eva Prentiss, vocalist (so- — 


BIOGRAPHICAL SECTION—1927-1928 


439 


prano), organist, music teacher; b. Oak- 
land, Me., Sept. 30, 1865; d. William H. 
Picmuinieeiee Prentiss; m. Oscar E. 
Perry, May 13, 1904; ed. East Green- 
wich Academy, class 1885; studied with 
Proto. 1, Carter and F. Hathorne; 
mem. Dunn Memorial M. E. Church 
Choir, Tuesday Club and Rebekah 
Lodge; Treas. Tuesday Club. Address, 
Main St., Oakland, Me. 


Peters, Thomas B., conductor, Deane’s 
Orchestral Club. Address, 175 Coyle 
St., Portland, Me. 


Petersen, Mrs. Leah T., music teacher, 
pianist; mem. MacDowell Club and 
Portland Rossini Club. Address, 655 
Congress St., Portland, Me. 


Peterson, Edwin, Sec. Milo Festival Cho- 
rus. Address, Milo, Me. 


Peterson, Ellen M., m.t. Address, 50 Co- 
lumbia St., Bangor, Me. 


Peterson, Ethel M., m.t.; conductor Me. 
Festival Chorus. Address, Milo, Me. 


Petit, Elizabeth, vocalist (mezzo-sopra- 
no); b. Biddeford, Me.; d. Ovide and 
Julie Garneau Petit; ed. St. Joseph’s 
School, Biddeford, Me.; studied with 
Sisters of Good Shepherd, Prof. E. 
Clarke and Prof. Brinkler; and Normal 
Course at Siegel-Myers School of Mu- 
sic, Chicago; mem. Society of Children 
of Mary. Vocation, teacher of piano. 
Address, 4 Graham St., Biddeford, Me. 


Pettengill, Arthur Nash, teacher of piano, 
organ and violin; b. Lewiston, Me., 
April 8, 1877; s. George S. and Flavilla 
Golden Pettengill; m. Florence D. Hill, 
cellist, April 9, 1900; ed. public and pri- 
vate schools; studied with Mattie G. 
Wood, B. F. Wood, Otto C. de Scheda, 
E. W. Hanscom and Charles Dennee; 
choirmaster and organist Trinity Epis- 
copal Church, 1904-1924, Calvary M. E. 
Church since 1924; org., Ashla Lodge, 
F, & A. M., King Hiram Chapter, Dun- 
lap Council, Lewiston Commandery, K. 
T., Lewiston Lodge of Perfection and 
pianist Kora Temple, A. A. O. U. M.S.; 
director Lewiston Brigade Band (trom- 
bone), Arthur N. Pettengill Orctestra; 
Vice Pres. Musicians Protective Union; 
conductor, Lewiston-Auburn Symphony 
Orchestra. Address, 535 Main St., Lew- 
iston, Me. Studio, 198 Lisbon St., Lew- 
isto.1. Me. 

Pettengill, Lawrence C., clarinettist and 
violinist; b. East Auburn, Me., Dec. 22, 
fes0;) S. Isaac D.°and Deborah M. 


(Gowell) Pettengill; m. Mary E. Saw- 
yer, May 26, 1888; ed. East Auburn, 
Me.; studied with F. D. Record and E. 
Strasser; mem. Glover’s Band, Lewis- 
ton Brigade Band, Arthur N. Petten- 
gill’s Concert Orchestra, Given’s, Wil- 
son’s, Callahan’s and Gifford’s Orches- 
tras; played in Lewiston theatres for 20 
yrs.; played summer engagements for 
about 20 yrs. at Riverton, Old Orchard, 
Cape Cottage, Popham Beach, and one 
winter at Everett and Duval Hotels, 
Jacksonville, Fla. Address, North River 
Road, Auburn, Me. 


Petty, Mrs. Eliza, Treas. Skowhegan Fes- 
tival Chorus. Address, Skowhegan, Me. 


Petty, William, vocalist; mem. Cosmopoli- 
ton Quartette. Address, Portland, Me. 


Phelps, Frank W., Pres. Old Town Festi- 
val Chorus. Address, Old Town, Me. 


Philbrook, Alice Linwood, teacher of 
piano, concert artist; b. Portland, Me., 
Jan. 20, 1861; d. Lysander V. and Rhoda 
Heseltine; studied with Carl Baermann 
and at N. E. Conservatory; honorary 
mem. Portland Rossini Club (Treas. for 
20 yrs.); mem. Verdi Club, New York. 
Res., 4260 Broadway, N. Y. City. 


Philbrook, Warren C., vocalist; b. Sedg- 
wick, Me., Nov. 30, 1857; studied choir 
singing with J. W. Dresser of Castine 
and teachers in Portland and Boston; for- 
merly director of various quartets, glee 
clubs and choirs, and Pres. Waterville 
Festival Chorus. Vocation, attorney and 
Justice of Supreme Judicial Court. Ad- 
dress, Waterville, Me. 


Phillips, Lena M., violinist. Address, 42 
Longfellow St., Westbrook, Me. 


Phillips, William H., vocalist (bass); b. 
Bethel, Me.; s. John W. and Catherine 
R. Phillips; m. Carrie M. Harmon, July 
4, 1880; ed. Bethel, Me.; studied with 
Wm. L. Fitch, Wm. H. Dennett and 
Millard Bowdoin; mem. Woodfords 
Cong., First Baptist and Central Square 
Church Choirs; mem. Maine Music Fes- 
tival for 20 yrs. Address, 77 St. Law- 
rence St., Portland, Me. 


Pierce, Arthur D., vocalist (bass); mem. 
Portland Festival Chorus, 30 yrs.; choir 
director Second Parish Church. Ad- 
dress, 335 Woodford St., Portland, Me. 


Pierce, Mrs. Arthur D., vocalist (alto); 
mem. Portland Festival Chorus. Ad- 
dress, 335 Woodford St., Portland, Me. 


Pierce, A. W., vocalist; mem. Portland 


440 


Festival Chorus, 20 yrs. Address, 186 
Stanford St., So. Portland, Me. 


Pierce, Mrs. A. W., vocalist (alto); mem. 
Portland Festival Chorus, 20 yrs. 
dress, 186 Stanford St., So. Porinad: 
Me. 

Pierce, Mrs. Clyde W., vocalist; mem. 
Portland Festival Chorus, 20 yrs. Ad- 
dress, 79 Fessenden St., Portland, Me. 


Pierce, Frank H., vocalist. Vocation, 
grain merchant. Address, 194 Spring 
St., Portland, Me. 

Pierce. Irving, soloist (tenor); b. Pros- 
pect, Me., May 13, 1800; s. Everett and 
Josephine Pierce; m. Lillian Maxell, June 
22, 1915; ed. Eastern Maine Conference 
Seminary; studied with Mildred Stone, 
Bangor; mem. choir Baptist Church, Old 
Town; formerly dir. Methodist Episco- 
pal Church, Old Town; former mem. 
choir Baptist Church, Houlton, Methodist 
Epis., Guilford; Vice Pres. Old Town 
Festival Chorus; Mason. Vocation, chief 
accountant University of Maine. Address, 
34 Sixth St., Old Town, Me. 


Pierce, Mrs. Josiah (Isabella L.), vocalist; 
b. Portland. Me.; d. Daniel Warner and 
Isabella (Hatch) Millett; m. Josiah 
Pierce; studied with Hermann Kotzsch- 
mar and Herr Schulhoff; one of the 
founders and a charter mem. of the 
Portland Rossini Club, also one of its 
incorporators, now honorary mem. Ad- 
dress, The Royal Palance Hotel, Ken- 
sington, London, W. 8, England. 


Pierre, Albert S., m.t. Address, 
wick, Me. 
Pierson, Mrs. Nelson (Birdena Powers), 


music teacher; Pres. Lyric Club. Ad- 
dress, Caribou, Me. 


Pilote, Mamie, m.t., organist. Address, 87 
Wood St., Lewiston, Me. 


Piper, Frances Louise Cushing, vocalist, 
pianist; b. Gray, Me., June 13, 1902; d 
Dr. Louis T. and Emma M. Cushing; 
m. Frank S. Piper, June 26, 1926; ed. 
Wheaton College and Inst. of Normal 
Methods, Northampton, Mass.; studied 
with Hiram G. Tucker (piano), Henri- 
etta D. Rice (voice); dir. Wheaton Coll. 
Glee Club and Leavitt Inst. Chorus; 
English instructor. Address, Kezar 
Falls, Me. 

Piper, Mabel, m.t. Address, Lincoln, Me. 


Pitcher, Elbridge S., vocal teacher (basso), 
band and choral conductor; b. Waldo- 
boro, Me., Feb. 4, 1865; s. Horace W. 
and Lucy Wentworth Pitcher; m, Em- 


Bruns- 


MUSIC AND MUSICIANS OF MAINE 


' Plante. Mrs. Joseph (Lucina B.), violin- 


ma B. Pitcher, Dec. 31, 1889; ed. Castine 
Normai School and N. E. Conservatory; — 
studied with A. W. Keene, L. C. Elson — 
and F. W. Hale; mem. Kiwanis Club — 
and Maine Music Festival since its or- 
ganization; dir. of music in public — 
schools in Auburn, Me., for more than — 
5 yrs.; have dir. choirs in Belfast and — 
Lewiston, Me., for 25 yrs.; Pres. Belfast 
Musical Society, 5 yrs.; mem. Belfast — 
Band, 10 yrs., conductor 1 yr.; Pres; @ 
Eastern Music Supervisors Conference. — 
Address, 79 High St., Auburn, Me. . 


Pitcher, Mrs. Elbridge S. (Emma B.), ~ 
vocal teacher (contralto);' b. Belfast, — 
Me., 1865; d. Daniel L. and Prudence ~ 
(Dunbar) Pitcher; m. Elbridge S. — 
Pitcher, Dec. 31, 1880; ed. Boston) 
Mass.; studied with J. L. Hodgdon, Jr.; 
mem. Universalist, Baptist, Unitarian — 
and Congregational Church Choirs; — 
chairman music committee State Fed- — 
eration Women’s Clubs; mem. Execu- — 
tive Committee, Belfast Musical Society. _ 
Vocation, supervisor of music in public — 
schools, Belfast, Me. Address, 79 High ~ 
St., Auburn, Me. a. 


Plant, Chester, Treas. Bath Festival Cho-— J 
rus. Address, Bath, Me. 4 


Plante, Alford, vocalist (tenor), violinist; — 
b. Augusta, Me., Aug. 28, 1901; s. Omer — 
and Celima Plante; studied with Ra- — 
mond Shaw. Vocation, shoemaker. Ad- — 
dress, 25 Washington St., Augusta, Me. 


Plante, Joseph J. B., clarinettist; b. Au- 
gusta, Me., June 24. 1890; s. Omer and — 
Celima Plante: m. Lucina B. Bonneau. 
Nov. 19, 1923; mem. Municipal Band — 
and Augusta Symphony Orchestra. Vo- — 
cation, shoemaker and carpenter. Ad- 
dress, Thomaston Road, Augusta, Me. — 


ist; b. Augusta, Me.. April 30, 1003; d. — 
Noel and Adrienne Bonneau; m. Joséph _ 
Plante, Nov. 19, 1923; mem. Augusta — 
Symphony Orchestra. Address, Thom- — 
aston Road, Augusta, Me. a 
Plummer, Arthur. leader Citizens Band, — 
Skowhegan. Address, Skowhegan, Me. 
Plummer, Mary L., mt. Address, 639 — 
Broadway, Bangor, Me. y 
Pollard, Alice E., org. Church of the Mes- — 
siah, Portland. Address, Portland, Me. - 
Pollock, Paul, orchestral leader, music 
teacher, violin soloist. Address, 635¢ 
Congress St., Portland, Me. s 
Pomerleau, Mrs. Pearl B., Sec. Skowhe-— F 


—e oe 


BIOGRAPHICAL SECTION—1927-1928 441 


gan Festival Chorus. Address, Skowhe- 
gan, Me. 

Pomeroy, Mrs. Elizabeth, music teacher, 
school music supervisor. Address, East 


Livermore, Me. 


Porter, F. Addison, teacher and composer; 
b. E. Dixmont, Me., Sept. 3, 1859; s. 
Albert O. and Susan (Farnham) P.; m. 
Lillian Mead of Walton, N. Y., Aug. 27, 
1890 (deceased); 2d Laura Huxtable of 
Boston, Nov. 29, 1907; grad. N. E. Con- 
servatory of Music, 1884; post-grad. 
study at Leipzig, Germany; teacher of 
pianoforte since 1884; organizer and 
supt. Normal Dept., N. E. Conservatory 
of Music, 1892-1922; dir. Porter Piano- 
forte Summer School; author of “N. E. 
Conservatory Course for Piano,” ‘Prac- 
tical Finger Exercises,’ “Intermediate 
and Advanced Technique’; composer 
fugues, sonatas, preludes, waltzes, ma- 
zurkas, mocturnes, etude melodique 
(leit) hand),  Komanza in A flat,” “A 
Winter Sunset,” etc., for pianoforte; 
Hon. Nat’l Pres. Kappa Gamma Psi 
Fraternity, Hon. Pres. Porter Musical 
Association; mem. Boston Art Club, 
Harvard Mus. Assn., Euclid Lodge, A. 
F. and A. M., St. Andrew’s Royal Arch 
Chapter, Boston Council, De Molay 
Commandery, Knights Templar. Ad- 
dress, N. E. Conservatory of Music, 
Boston, Mass. 


Pouliot, Jean Patrice, pianist and accom- 
panist; b. Athabaska Ville, P. Q., Cana- 
da, Sept. 1, 1902; s. Edmond and Pauline 
Labbe Pouliot; ed. St. John the Baptist 
School; studied with Rev. Mother Mary 
de Lourde of the Ursuline Sisters, Mrs. 
Charles Warren and Olaf Jensen; on 
tour, B. F. Keith Circuit, season 1924-25; 
accompanist for Dolara LaCroix, Mrs. 
Geoffrey T. Vermette, Anthime Fortin 
and others; broadcasted from WCSH. 
Vocation, teacher of piano. Address, 7 
Bridge St., Brunswick, Me. 


Pratt, John Haraden, organist, composer, 
teacher of piano, organ and theory; b. 
Freeport, Me., Nov. 20, 1848; s. Simeon 
and Joann Emerson Dennison Pratt; m. 
Sophie Christian, Aug. 23, 1890; ed. No. 
Yarmouth Academy; studied with 
George W. Marston, Portland; counter- 
point with John W. Morgan, Oakland, 
Cal.; theory with S. Jadassohn, Alfred 
Richter, Oscar Paul; piano with Ernest 
Frederich Wenzel, Theodor Coccius and 
Bruno Zwintscher in Leipzig; certificate 
from the Leipzig Cons., 1881; took ex- 


aminations for associateship and fellow- 
ship degrees in American College of 
Musicians, 1888; formerly teacher of 
theory at Mills College and at Kings 
Conservatory, San Jose, Cal.; org. at St. 
Mary the Virgin (Episcopal) Church, 
San Francisco, 12 yrs., and First Jewish 
Synagogue, Oakland, Cal.; org. Old 
People’s Home, San Francisco, 35 yrs.; 
Rites bodies; 13° yrs; org. Lyon St. 
Church of the New Jerusalem; formerly 
org. Cong. Sq. Univ. and First Baptist 
Churches, Portland, Me.: composer, 
songs, church music, “Piano Trio in 
& SMaiors tecilent «lLears)  T antum 
Ergo,” “Love’s Fillet,’ “English Mass 
in C,” for men’s voices; historian and 
pres. Musicians Club of San Francisco, 
former Sec. and Past Pres.; Colleague of 
the American Guild of Organists, and 
twice dean of the Northern Cal. Chap- 
ter Am. Guild of Organists. Address. 
1530 Lombard St., San Francisco, Cal. 


Prescott, Edith F., organist United Bap- 
tist Church. Address, Auburn, Me. 


Preston, Bernice M., music teacher, pian- 
ist; priv. mem. Portland Rossini Club. 
Address, 489 Cumberland Ave., Port- 
land, Me. 


Prince, Frank L., instrumentalist (viola, 
violin); former mem. Portland Orches- 
tral Society; mem. Portland Municipal 
Orchestra and Deane’s Orchestral Club. 
Address, 291 Spring St., Portland, Me. 


Purington, Prof. Geo. C., vocalist (tenor) ; 
conductor Festival Chorus at Farming- 
ton; leader choir Cong. Church for many 
years. Principal Farmington State Nor- 
mal School. Address, Farmington, Me. 


Purington, Mrs. G. H., vocalist; mem. 
Women’s Choral Society. Address, 31 
Hastings St., Portland, Me. 


Quigley, Mrs. Corrine, m.t. Address, 
Eastport, Me. 
Quincy, Dorothea, vocalist, pianist; b. 


Bangor, Me., June 14, 1900; d. F. G. and 
Cynthia Green Quincy; ed. Bangor 
High School, Comstock Conservatory 
of Music and Miss Capen’s School, 
Northampton, Mass.; studied piano with 
Abbie Garland, Bangor, Elinor Com- 
stock, N. Y., Blanche Dingley-Mathews, 
Boston; studied voice with Isidore Brag- 
giotti; mem. choir Church of Messiah 
and Park St. Church, Boston; mem. 
Handel and Haydn Society, Boston, 
Choral Society, Bangor, Business and 
Professional Women’s Club and Boston 


CHORAL CONDUCTOR AND 


HELOISE P. RENOUF, 
TEACHER. 


Students Union. Address, 52 St. Ste- 
phen St., Boston, Mass. 


Raeburn, Harry Tindell, soloist and con- 
cert artist (baritone); b. Toronto, Can- 
ada; s. Robert C. and Emma Tindell 
Raeburn; m. Phyllis Caroline Cul- 
hane, Aug. 14, 1913; ed. Trinity Church 
School, N. Y.; studied with Mme. Shel- 
don, Dr. Victor Baier and David Bis- 
pham, N. Y.; formerly soprano soloist 
Trinity Church, N. Y., choirmaster St. 
Barnabas Church, Berlin, N. H., and 
dir. North Country Festival of Episco- 
pal Church Choirs in N. H.; Vice Pres. 
Portland Shrine Club; mem. Rotary 
Club, Shrine Club, Portland and N. H. 
Academy of Science. Vocation, direc- 
tor of musical comedies, minstrels and 
community song leader. Address, 181 
Longfellow St.; mail address, 5423 Con- 
gress St., Portland, Me. 


Rafnell, Alfred Wilson, vocalist (tenor), 
teacher of piano; b. Castine, Me., Feb. 
14, 1875; s. Arthur J. and Sarah J. Raf- 
nell; m. Clarice Anderson, Oct. 28, 1897; 
ed. public schools, Castine; studied with 
William M. Eddy; soloist Baptist 
Church and Central Church, Bath, Me.; 
mem. Brigade Band (cornet), Lewiston. 
Pettengill’s Orchestra; dir. Castine 


MUSIC AND MUSICIANS OF MAINE 


Band, Bath Band and Rumford Band; 
played in Columbia Theatre, Bath, Me., 
9 yrs., Music Hall, Lewiston, 5 yrs., 
Strand and Empire Theatre Orchestras, 
2 yrs.; arranged music for band and or- 
chestra and made a specialty of teaching 
cornet and harmony. Vocation, piano 
ee Address, 440 Turner St., Auburn, 
e. 
Ramsay, Allan, vocal teacher. 
Oak St., Corner Lincoln, Bath, Me. 


Ramsdall, Melba E., organist. Address, 
956 Washington Ave., Portland, Me. 


Rand, Mrs. A., music teacher. Address, 
Winter Harbor, Me. 


Rand, G. H., M.D., conductor Livermore 
Falls Festival Chorus. Address, Liver- 
more Falls, Me. 

Randeggar, Lady Alberto (Louise Bald- 
win), vocalist; m. Alberto Randeggar, 
1897. Address, 5 Nottingham Place, W. 
London, England. 


Rankin, Frank L., m.t.; conductor Sanford 
Men’s Singing Club. Address, 562 Con- 
gress St., Portland, Me. 


Rankin, Mary, org. Second Parish Uni- 
tarian Church. Address, Saco, Me. 


Rawstron, Hazel Arris, b. Auburn, Me., 
Nov. 25, 1887; d. Frank H. and Annie 
Barker Arris; m. Albert V. Rawstron, 
Oct. 17, 1916; mem. and auditor Phil- 
harmonic Club, Auburn; mem. Danville 
Junction Grange. Address, 19 Summer 
St., Auburn, Me. 


Raynes, George E., leader Yarmouth 
Band. Address, Yarmouth, Me. 


Reed, Mrs. Elsie Dodge, Sec.-Treas. New- 


castle-Damariscotta Festival Chorus. Ad-. 


dress, Damariscotta, Me. | 
Regan, Blanche, org. St. Christopher’s 


Church, Peaks Island. Address, Peaks 


Island, Me. 


Rennix, Nellie G., m.t. Address, 30 Gra- 
ham St., Biddeford, Me. 


Renouf, Heloise Painchaud, vocalist, con- 
ductor and teacher of piano; b. Bidde- 
ford, Me., April 13, 1872; d. Pierre L. 
and Marie C. (Reny) Painchaud; m. 
Narcisse P. Renouf, Sept. 7, 1891; ed. 
Biddeford public schools; studied with 
R. H. Phippen and Pierre L. Painchaud; 
org. St. Joseph’s Church, Biddeford; 
mem. Universalist and Christian Science 
Church Choirs (mezzo-soprano-lyric) ; 
mem. Philharmonic Orchestra; formerly 
conductor Universalist Church Choir, 
So. Berwick Mozart Club, Kennebunk 


Address, — 


eee ee eee ee ee ee ee ee a ee eee Lee Tee ee ee 


wih.» a re 


* "a ae eee 


BIOGRAPHICAL SECTION— 1927-1928 


443 


Festival Chorus, Saco and Biddeford 
Festival Chorus; Pres. and Director 
Biddeford Unit State Liberty Chorus; 
in 1928 director United Baptist Church 
Choirs in Saco. Address, Sunnyside 
Court, 256 South St., Biddeford, Me. 


Renouf, Myrabelle, Treas. Biddeford-Saco 
Festival Chorus. Address, Biddeford, Me. 


Reny, Yvonne, pianist; studied with Al- 
bert Auger, Auburn; mem. St. Louis 
Church Choir; pianist for the Musical 
Literary Society and also for operas 
produced in Lewiston, including “Faust,” 
1922, “Romeo and Juliet,” 1923, and the 
“Mascot”; has appeared in leading parts 
in musical comedies “All Aboard,” “Pin- 
afore,” “Little Buttercup,” “The Drum 
vous and “Olivette.” Res., Lewiston, 

e. 

_ Reynolds, Mrs. Clarence, vocalist; mem. 

es Choir, Bangor. Address, Bangor, 
e. 

Rice, Henrietta Dennett, vocalist (con- 
tralto); b. Stetson, Me.; d. Matthias E. 
and Harriet Pierce Rice; ed. Auburn 
-and Lewiston; studied voice with Ella 
C. Lewis, Portland, Luigi Vannucini, 
Florence, Italy, Alberto Randeggar, 
London, England, Reinhold Herman, 
Rappallo, Italy, William L. Whitney, 
Boston, and Frederic E. Bristol, N. Y.; 
2nd Vice Pres. Portland Rossini Club; 
mem. choir First Parish and State St. 
Churches, Portland, and the H. H. 
Rogers Memorial Church, Fairhaven, 
Mass. Vocation, teacher of singing. 
aes 655 Congress St., Portland, 

e 


Rich, Mrs. Irving, mem. MacDowell Club. 
Address, Portland, Me. 

Richan, Avard L., Vice Pres. Lewiston and 
Auburn Oratorio Chorus. Address, 152 
Davis Ave., Auburn, Me. 

Richards, Mrs. Floyd H., vocalist; mem. 
MacDowell Club, Portland Rossini 
Club. Address, 319 Summer St., So. 
Portland, Me. 

Richards, Laura E., author of “Seven Ori- 
ental Operettas,” “Fairy Operettas” and 
many books, including “The Piccolo,” 
“Melody,” etc. Address, 3 Dennis St., 
Gardiner, Me. 

Richardson, Mrs. Frank, m.t. Address, 20 
Hooper St., Biddeford, Me. 

Richardson, Grace March, pianist; mem. 
Fremstad Music Club, Bridgton. Ad- 
dress, Bridgton, Me. 


Richardson, Hilda, violinist; mem. Port- 


C. WINFIELD RICHMOND, VIOLINIST AND TEACHER. 


land Municipal Orchestra. Address, 


193 Edwards St., Portland, Me. 


Richardson, Mrs. Ida, org. First Baptist 
Church. Address, Biddeford, Me. 


Richardson, Prudence Mary, vocalist 
(mezzo-soprano); b. Rangeley, Me.. 
Oct. 7, 1881; d. Phineas and Addie Pills- 
bury Richardson; ed. Hebron Academy; 
studied with Florence Knight Palmer 
and Mary Alice Cobb, Portland; for 
many years prior to 1915 was soloist, 
reader and elocution coach, and mem. 
Baptist Church Choir, Rangeley. Voca- 
tion, public stenographer. Res., Range- 
ley, Me. 


Richmond, Anita Clark, vocalist; mem. 
Ethelbert Nevin Club, Springvale. Ad- 
dress, Springvale, Me. 

Richmond, C. Winfield, pianist, music lec- 
turer, teacher of piano; b. Fayette, Me., 
March 2, 1882; s. Charles H. and Clara 
Jennings Richmond; ed. Coburn Classi- 
cal Institute and Virgil Piano Conserva- 


444 MUSIC AND MUSICIANS OF MAINE 


tory, N. Y.; studied with Rafael Joseffy, 
N. Y., and Isidor Philipp, Paris; organ- 
ist All Soul’s Church, Bangor, and Ma- 
sonic body; pianist, Maine Music Festi- 
val, 3 yrs.; mem. Music Teachers Na- 
tional Asso., National Asso. of Organ- 
ists, Musical Alliance of America, 
Knights Templar and 32nd degree Ma- 
son. Summer home, Long Cove Point, 
Chamberlain, Me. Address, Andrews 
Music Building, Bangor, Me. 


Richmond, Cora Pierce, vocalist (so- 
prano); b. New Bedford, Mass.; d. 
Thomas W. and Mary Besse Pierce; m. 
Eben A. Richmond, 1888; ed. Middle- 
boro, Mass.; studied with A. J. Hub- 
bard, .N. E. Conservatory; dir. ‘Cong, 
Church Choir, Sanford, Me. Address, 
183 Main St., Sanford, Me. 


Ricker, Cora, mem. Women’s Choral So- 
ciety. Address, Portland, Me. 


Ricker, Frederick A., vocalist; b. Turner, 
Me.; s. Danville A. and Lucinda Mason 
Ricker; m. Annie S. Page, April 28, 
1880; studied with H. H. Rich, Worces- 
ter, Mass., and at Worcester Co. Music 
School; mem. choir Unity Church, 
Worcester, and Cong. Church, Turner; 
mem. Music Festival Chorus, Worces- 
ter, 3 yrs., and Me. Music Festival, 10 
yrs. Address, Turner, Me. 


Ricker, Katherine (see Katherine Ricker 
Keenan). 


Rideout, Walter John, vocalist (tenor bar- 
itone); b. Charleston, Me. June 13, 
1889; s. Whitney J. and Vina Wood- 
worth Rideout; m. Helen Ruth Brickett, 
Dec. 25, 1913; ed. Colby College; studied 
with C. Winfield Richmond, Bangor; 
mem. choir, Cong. Church, Danville, Vt., 
Methodist, Guilford, Me., and Cong., 
Dover-Foxcroft, Me.; dir. Eastern Me. 
Musical Asso.; mem. Guilford Festival 
Chorus, 1919-23; Pres. Dover-Foxcroft 
Fes. Chorus, 1923-25. Vocation, super- 
intendent of schools. Address, 11 Pleas- 
ant St., Dover-Foxcroft, Me. 


Ridley, Elizabeth Mae, vocalist (soprano), 
teacher of music public and private 
schools; b. Old Town, Me., March 25, 
1875; d Frank O. and Mary A. Leavitt; 
m. Fred C. Ridley, March 29, 1900; ed. 
private schools, Bangor, Me.; Pres. 
Woman’s Republic Club, Cor. Sec. 
Home Culture Club, Rec. Sec. Wimo- 
dansis Club, all of Bangor; mem. Festi- 
val Chorus 20 yrs., Schuman Club, 
Stearns Circle of Kings Daughters, 
Eastern Star, Rebekah Lodge. Summer 


home, So. Gouldsboro, Me. Address, | 
3570 Spokane Ave., Tacoma, Wash. 


Ridley, Harriette G., organist and radio — 


director; b. Lewiston, Me., April 8, 1806; — 
d. George E. and Elizabeth Royal Rid- — 
ley; ed. Lewiston, Me.; studied organ — 
with Ralph Kinder, Philadelphia; piano — 
with Florence A. Wells; org., High St. 
Cong. Church, Auburn, Me.; mem. — 


American Federation of Musicians and ~ 


Schubert Trio; org. and radio director — 

John Wanamaker Store, Philadelphia. 

ae 128 So. 54th St., Philadelphia, 
a. 


Ridlon, Mrs. Charles H. (Sadie Nicker- 


son), violinist; b. Falmouth Foreside, 
Me., Sept. 4, 1890; d. Charles L. and Isa 
(Starling) Nickerson; studied with 
Florence E. Chapman and Blanche 
Cram Longfellow; mem. Laura E. Ross’ 
Ladies Orchestra; mem. B. P. W. Club 
and Y. W. C. A.; mem. Portland Rossini 
Club. Address, 883 Congress St., Port- 
land, Me. 


Rigby, Frank J., music teacher, band 


leader (clarinet and piano); b. New- 
burgh, Me., 1862; s. Josiah and Ruth A. 
Rigby; m. Kittie F. Conant, June 14, 
1892; ed. Kent’s Hill Seminary; studied 
at N. E. Conservatory, Boston, Mass.; 
leader American Legion, C. A. C., N. G. 
Me., during World War; dir. Belfast 
Band 14 yrs., Rumford Band 8 yrs., and 
has played with Germania Band; mem. 
Portland Musicians Asso. Studio, 536a 


Congress St. Res., 13 Gray St., Port 


land, Me. 


Riley, Arlen McKenney, vocalist (con- 


tralto); b. Madison, Me., Oct. 19, 1805; 
d. Rufus S. and Lina Moore McKenney; | 
m. James Vincent Riley, Nov. 10, 1920; ~ 
ed. Madison, Me., and N. E. Conserva- — 
tory; mem. Congregational Church 
Choir and leader High School Orches- 
tra, Madison; formerly mem. Musical 
Art Society, and Cecilia Choral, Boston, 
Mass.; formerly taught in Nova Scotia, — 
Texas, Christian University, Fort Worth, 
Texas. Vocation, private teaching and — 
public school music. Address, 29 Wes- 
ton Ave., Madison, Me. 


Ringwall, Knut Algot, musical director, 


composer, pianist, teacher; b. Stockholm; 
Sweden, Feb. 21, 1865; s. Fredric Wil- 
helm and Sophia A. Ringwall; m. Tekla 
Malmberg, 1887; ed. Stockholm, Swe- — 
den; studied at Royal Conservatory of 


Music; musical dir. Bijou Theatre Or- — 


BIOGRAPHICAL SECTION—1927-1928 AAS 


chestra, Bangor. Address, 48 Grant St., 
Bangor, Me. 


Ringwall, Rudolph, orchestra leader; b. 
‘Bangor, Me.; educated at Vienna; 

. studied with Arnold Rosé; played seven 
years with the Boston Symphony Or- 
chestra. Vocation, assistant conductor 
of the Cleveland Symphony Orchestra. 
Address, Cleveland, Ohio. 


Ripley, Aaron Bryant, vocalist (tenor); b. 
Washington, Me., May 12, 1867; s. Sam- 
uel and Sarah Bryant Ripley; m. Sadie 
Williams, May 4, 1891; Pres. Augusta 
Symphony Orchestra, 1924-25 (cello); 
former mem. Washington Cornet Band 
(alto). Vocation, farmer. Address, 25 
Howard St., Augusta, Me. 


Ripley, Mrs. Charles E., m.t. Address, 391 
Washington St., Bath, Me. 


Ripley, Robert Samuel, violinist; b. Au- 
gusta, Me., Dec. 10, 1911; s. Edward L. 
and Alice (Cony) Ripley; ed. Farming- 
ton Schools; studied music under Prof. 
Thieme; mem. Augusta Symphony Or- 
chestra. Address, 173 Cony Road, Au- 
gusta, Me. 


Ripley, W. S., organist, cornettist, com- 
poser; attended singing school at ten 
years of age; taught his first band in Gor- 
ham, N. H., in 1860; has taught more 
than fifty bands in four N. E. States; was 
17 yrs. bandmaster at the House of Ref- 
ormation and Marcella St. Home, Bos- 
ton; composed more than three hundred 
songs and hymns, five sets of band books. 
Address, 11 Eaton St., Wakefield, Mass. 


Rizzo, Rosa, vocalist; mem. Women’s 
Choral Society. Address, 177 Frances 
St., Portland, Me. 


Robbins, Mrs. Anna L., vocalist; mem. 
Women’s Choral Society. Address, 93 
Margaret St., So. Portland, Me. 


Robbins, Ida Elizabeth, teacher of piano 
and accompanist; b. Union, Me., Dec. 
6, 1881; d. Alphonso and Eliza Robbins; 
ed. Union High School; studied with 
Mrs. James Wight and Clarence Pen- 
dleton, N. Y.; mem. Bethel Rebekah 
Lodge; scenario writer of moving pic- 
ture plays. Address, Union, Me. 


Robbins, Irvin, violinist; mem. Portland 
Municipal Orchestra. Address, Port- 
land, Me. 

Robbins, Reginald Chauncey, composer; 
b. Boston, Mass., 1871; s. Royal E. and 
Mary (Horton) Robbins; ed. A.B. Har- 
Ward, 16902; m. Jane R. Hall, May 17, 


1907; Vice-Treas. Waltham Watch Co. 
VEvTe rm ACT CO NAVals Nh CSa6Ll.  sanOast 
and overseas, IQI7-19; author: “Love 
Poems,” 4 vols., 1903-5-10-12, “Poems of 
Personality,” 3 vols., 1904-9-I19, “Earlier 
Poems,” 1913, “Poems Domestic,” 1919; 
composer of many songs; mem. Union 
Club, St. Botolph, Harvard, Century, 
Authors: commodore Beverly pacint 
Club, Manchester Yacht Club; chrmn. 
finance com. Town of Hamilton, Mass.; 
chrmn. trustees, pub. library, Hamilton, 
Mass.; chrmn. visiting com. on philoso- 
phy and psychology; mem. Am. Philo. 
Assn., Mass. Audubon Soc., Delta Kap- 
pa Epsilon, Phi Beta Kappa Frats., Am. 
Legion and Veterans of Foreign Wars, 
Mil. Order, World War, S. A. R., May- 


Ses Soc. Res., North East Harbor, 

e. 

Roberts, Mrs. Myra, m.t. Address, Mil- 
bridge, Me. 


Roberts, Ruth Olive, teacher piano and 
organ; b. Fryeburg, Me.; d. Rev. J. H. 
and Ellen Deane Roberts; ed. Colby 
College (Bachelor of Arts); studied 
piano with Heinrich Gebhard, Boston, 
Mass., and Dr. Latham True; studied 
organ with Dr. Irving J. Morgan, Port- 
land, and John Hermann Land, Boston; 
org. School St. Episcopal Church, Saco; 
Colleague Am. Guild of Organists. Res., 
30 Cutts Ave., Saco, Me. 


Roberts, Mrs. Winnifred P., m.t. Address, 
Richmond, Me. 


Robie, Fred Clarence, bandsman; b. Lew- 
iston, Me., Feb. 26, 1856; s. Henry and 
Olive Sanborn Robie; m. Eleanor Annie 
Townsend, Feb. 28, 1888; org. Cong. 
Church; mem. Glover’s Band for 12 
yrs.; mem. of several bands and orches- 
tras (E flat and B flat cornet and 
drums). Vocation, farming. Address, 
Winthrop, Me. 


Robinson, Alton L., music teacher (clari- 
net). Address, 226 W. Broadway, Ban- 
gor, Me. 

Robinson, Blanche Atkins, 
piano; b. Milford, Me.; d. Charles W. 
and Delia S. Atkins; m. Reuel Robin- 
son, Dec. 22, 1885; studied with Fannie 
Clift Berry, Mrs. FEB oAyers org: Cong. 
Church, Camden, 30 yrs. Address, Cam- 
den, Me. 


Robinson, Emmons, m.t. Address, Houl- 
ton, Me. 

Robinson, Helen Brown, teacher of piano; 
b. Leadville, Colorado, July 26, 1887; d. 
Charles L. and Etta (Coburn) Brown; 


teacher of 


446 


m. John M. Robinson, June 109, I912; 
studied with Bertha McClench, George 
R. Goodridge and R. Alice Rich of 
Bath; org. Penney Memorial Church, 
Augusta; accompanist Augusta Festival 
Chorus, 2 yrs.; also org. First Baptist 
Church, Gardiner, First Universalist 
Church, Hallowell, and National Home, 
Togus. Address, 23 Academy St., Hal- 
lowell, Me. 


Roby, Charles E., mem. Me. Festival Cho- 


rus, 30 yrs. Address, 205 Ocean Ave., 
Portland, Me. 


Roche, Mrs. Charlotte Gunn, vocalist, 


soloist (soprano); mem. Portland Ros- 
sini Club, Women’s Choral Society, 
Cong. Sq. Church Quartette; appeared 
at Portland Municipal Concerts and at 
Strand Theatre. Address, 72 Prospect 
St., Portland, Me. 


Rocheleau, Ida Elisette, vocalist (sopra- 


no); b. Chisholm, Me., July 13, 1897; d. 
Edward and Eugenie St. Peter Roche- 
leau; m. Flavien Rocheleau, June 20, 
1921; ed. Wallace School and Bliss 
Business College, Lewiston; studied at 
the Dominion College of Music, Mon- 
treal, and with Prof. Belanger; soloist 
St. Peter’s. Church; mem, . le «Foyer 
Musical of Lewiston, Me.; teacher of 
piano for 9 yrs. Address, 148 Pierce St., 
Lewiston, Me. 


Rodgers, Harry Everett, organist; b. 


Brockton; «Masss-“: July £330 11000 teas: 
George Fred and Laura Ferguson Rod- 
gers; m. Jessie O. Youlden, Aug. 30, 
1911; ed. N. E. Conservatory; studied 
with J. Albert Jeffery and H. M. Dun- 
ham; org. Strand Theatre; formerly 
conductor Lewiston Symphony Orches- 
tra; mem. Kora Temple Mystic Shrine, 
Masonic bodies in No. Cambridge, 
Mass.; composer light orchestra num- 
bers. Address, 10 Libby Ave., Lewiston, 
Me. 


Rogers, Grace A., educator; b. Troy, Me.; 


d. Nathan and Sarah Loud Rogers; ed. 
N. E. Conservatory, Boston, and New 
York University; studied piano with 
Jessie Hubbard and organ with Edward 
H. Wass of Bowdoin College; voice, 
Ernest J. Hill; violin with Don Morri- 
son of Oberlin Conservatory, Ohio, and 
Walter Habernicht of Boston Sym- 
phony Orchestra; class violin and or- 
chestrations with Dr. Albert G. Mitch- 
ell of Boston; 3 yrs. course in public 
school music in School of Methods, 
Hingham, Mass.; summer school at La- 


MUSIC AND MUSICIANS OF MAINE 


sell Seminary, Auburndale, Mass.; five- — 
year course at University of N. Y. sum- ~ 
mer school; 10 yrs. on approved list of 
piano teachers at Maine Central Insti- 
tute; taught school music at Pittsfield, ~ 
18 yrs.; org., 15 yrs., First Universalist ‘ 
Church, Pittsfield; dir. Pittsfield Fes- — 
tival Chorus, 3 yrs.; head of music de- — 
partment Maine Central Institute. Ad- — 
dress, 18 Summer St., Pittsfield, Me. 


Rogers, Vivienne Iolia, pianist, organist; 
b. Pittsfield, Me.; d. George L. and @ 
Cora B. Rogers; ed. Pittsfield, Me., Me. 
Central Institute, Bates College, Lewis- 
ton, Me., A.B.; Columbia University, 
graduate work; studied with Grace © 
Rogers, Bangor, Charlotte Barnes) @ 


Heanette Stephenson, and Harrison ~ 


Smith of Waterville; church org.; mem. — 
Festival Chorus, Glee Club, Musical 
Club. Address, 11 Peltoma Ave., Pitts- — 
field, Me. 
Rolfe, Doris, m.t. Address, Pittsfield, Me. 


Rolfe, Walter, teacher piano and theory; — 
b. Rumford, Me., Dec. 18, 1880; s. F. J. 
and Emma E. Rolfe; m. Katherine Ar- 
mour, Feb. 16, 1913; ed. Rumford, Me.; 
studied with Hans van den Burg, A. W. 
Lillianthal, N: “Y.> otg Fast Moe 
Church; composer, “Kiss of Spring 4 
Waltz,” “Pictures in the Firelight,” — 
(piano suite), sacred and secular songs, — 
duets, anthems, orchestral and band ~ 
numbers; more than 300 in all. Address, — 
235 Beacon St., Boston, Mass. a 

Rollins, Doris Phebe Dow, teacher of © 


piano; b. Sangerville, Me., Sept. 11, © 


1891; d Sandy A. and Maude E. Dow; 
m. Eugene V. Rollins, Nov. 26, 1912; 


studied with B. Juanita Small; org. First 


Universalist Church. Address, Sanger- 
ville, Me. : 
Rollins, D. W., mem. Bd. Dir. Eastern — 
Maine Musical Association. Address, — 
Dexter, Me. 4 
Rose, George E., org. Veazie Cong. — 
Church. Address, Bangor, Me. ‘a 
Rose, ‘Mabel Harris, organist; b. Boston, — 
Mass.; d. Austin and Emily Pope Harris; — 
m. Stanwood Merton Rose, 1906; ed. 
Washington Academy and at Smith Col- — 
lege; studied with Herbert Harris, Smith — 
Coll. Mus. School, Cook Co. Normal — 
School at Chicago and N. E. Cons. of — 
Music, Boston; org. and choir leader of 
various churches; musical director of — 


Houlton Music Club. Supt. cf music in 


schools of Houlton. Address, 40 Pleas- — 
ant St., Houlton, Me. : 


BIOGRAPHICAL SECTION— 1927-1928 447 


Rosebrook, Alma Deane, violinist; b. Port- 
land, Me., Nov. 22, 1900; d. A. M. and 
E. R. Rosebrook; ed. Eastman College, 
Poughkeepsie, N. Y.; studied with Earl 
Woodman; mem. Laura Ross’ Ladies 
Orchestra and B. P. Women’s Club 
Orchestra. Vocation, bookkeeper. Ad- 
dress, 69 Payson St., Portland, Me. 


Ross, Laura E., teacher of piano, saxo- 
phone, xylophone; b. St. John, N. B., 
March 20, 1888; d. John E. and Edna M. 
Mutch; m. Burnside E. Ross, May 16, 
1920; ed. Boston, Mass.; studied piano 
with Jennie Mack, Madame Zumouska; 
saxophone with W. R. Amelotte; xylo- 
phone with George B. Stone; dir. and 
organizer Business and Professional 
Women’s Club Orchestra and Laura E. 
Ross’ Ladies Orchestra, Portland, Me.; 
mem. Local 364, American Federation 
of Musicians of Portland; mem. Art 
Publication Society of St. Louis, Mo., 
and National Academy of Music, N. Y., 
and MacDowell Club; Pres. Marston 
Club. Address, 225 Capisic St., Wood- 
fords; studio, 655 Congress St., Port- 
land, Me. 

Roundy, Arthur F., m.t. Address, 7 West 
St., Waterville, Me. 


Roussin, Odilon Clovis, vocalist (bari- 
tone); b. Biddeford, Me., Jan. 12, 1898; 
s. William and Celina Landry Roussin; 
m. Marian Houston, April 18, 1927; ed. 
St. Joseph’s Biddeford; studied with 
Harry Stott and Waldo Emery; mem. 
choir St. Ignatius Catholic Church; 
mem. Veterans of Foreign Wars and 
American Legion. Address, 1 Park St., 
Sanford, Me. | 


Rowbotham, Mary Elizabeth, organist; b. 
Lewiston, Me., Sept. 5, 1908; d. William 
and Ellen Rowbotham; studied with 
Mrs. Mary Maliar Murray, Prof. E. W. 
Hanscom and Prof. A. N. Pettengill; 
org. Trinity Episcopal Church; Sec. On- 
away Club; Daughter of St. George, 
Mizpah Lodge Odd Ladies. Address, 
170 Blake St., Lewiston, Me. 


Rowe, Mrs. A. W., m.t., accompanist Fes- 
tival Chorus. Address, Old Town, Me. 


Rowe, Clarence H., cornet; mem. Deane’s 
Orchestral Club; mem. Portland Munic- 
ipal Orchestra (trumpet). Address, 
424 Sawyer St., So. Portland, Me. 


Rowe, Esther P., music supervisor; b. 
Biddeford, Me., March 4, 1901; d. Albert 
W. and Minnie E. Pierce; m. Clarence 
H. Rowe, June 28, 1921; ed. Crane In- 
stitute of Music, Potsdam, N. Y., and 


American Institute of Normal Methods, 
Auburndale, Mass., studied with How- 
ard Clark and Jennie King Bragdon; 
mem. Maine Teachers’ Asso. and the 
Eastern Music Supervisors’ Asso.; for- 
mer mem. Portland Chorus of Me. Mu- 
sic Festival. Address, 424 Sawyer St., 
So. Portland, Me. 


Rowe, Mrs. Frank D., m.t. Address, War- 
ren, Me. 


Rowe, Mildred, m.t. Address, Ellsworth, 
Me. 


Rowley, Edwin C., org. First 
Church, Yarmouth, Me. 


Roy, Emile H., organist and composer; b. 
Lewiston, Me., Aug. 4, 1897; s. Henry 
F. and Emilie (Coutourier) Roy; ed. 
Paris National Conservatory; studied 
with Jacob, Dubois, Widor; formerly 
org. St. Peter’s Church, Lewiston; now 
org. at St. Patrick’s, Lewiston; was asst. 
org., Sacred Heart Church, Paris; mem. 
National Asso. of Organists and Amer- 
ican Federation of Musicians; mem. Mu- 
sical-Literary Club, B. P. O. E., accom- 
panist 3 yrs. in Paris for eminent Euro- 
pean artists; teacher organ and voice; 
composer, sacred anthems and organ 
compositions. Res., 142 College St., 
Lewiston, Me. 


Roy, Henry F., organist and choir direc- 
tor; b. Warwick, P. Q., Jan:.25, 1865;.s. 
Onezime and Jane Racette Roy; m. 
Emilie N. Coutourier, July 13, 1894; ed. 
Providence, R. I., Montreal, P. Q., and 
Boston, Mass.; studied with V. E. Ham- 
merell, Providence; Calixa Lavallee, 
Boston, and R. O. Pelletier, Montreal; 
org. St. Peter’s Church, Lewiston, for 
40 yrs.; founder of the Musical-Literary 
Club (Club Musical-Litteraire); propri- 
etor The Echo Publishing Co.; Rep. to 
Maine Legislature, 1925-1927. Vocation, 
publisher. Res., 142 College St.; 0., cor- 
ner Ash and Canal St., Lewiston, Me. 


Rumery, Samuel D., pianist; b. 1855; s. 
Samuel and Rachel Rumery; m. Carrie 
B. Rice; ed. Franklin School, Topsham, 
Me.; studied with G. W. Marston and G. 
Buonamici; 3 yrs. in piano business in 
Portland (1879-1882). Vocation, typist. 
Address, 18 Casco St., Portland, Me. 


Rumery, Mrs. Samuel D. (Carrie B. Rice), 
vocalist; b. Yarmouth, Me.; d. Samuel 
B. and Emilie Soule; m. Samuel D. 
Rumery; studied with Clara Munger and 
at New England Conservatory; formerly 
mem. choir at church, Marshall, Michi- 


Parish 


448 


MUSIC AND MUSICIANS OF MAINE 


gan. Address, 18 Casco St., Portland, 
Me. 

Runciman, Mrs. Cara Baxter, vocalist; 
priv. mem. Portland Rossini Club. Ad- 


dress, 2 Storer St., Portland, Me. 


Rundlette, Mrs. Earle C., pianist; priv. 
mem. Portland Rossini Club. Address, 
358 Danforth St., Portland, Me. 


Russell, Mrs. Blanche T., vocalist; mem. 
Women’s Choral Society. Address, 20 
Grand St., Portland, Me. 


Russell, Mrs. Carrol T., org. Winthrop St. 
Univ. Church. Address, Augusta, Me. 


Ryan, Lydia E., vocalist (lyric soprano) ; 
b. Presque Isle, Me.; d. William H. and 
Sara J. Ryan; ed. St. John’s School 
Presque Isle; studied with Charlotte Kin- 
ney, Houlton, John Jewett Turner, Bos- 
ton; Mrs. Charles Adams and Leverett 
Merrill, Boston; mem. Clef Club, East- 
ern Star, Presque Isle and Mass. Phar- 
maceutical Asso. Vocation, pharmacist. 
Address, 110 Main St., Presque Isle, Me. 


Sadler, Edwin Marshall, vocalist (bass); 
b. Portland, Me., May 23, 1907; s. Ed- 
win Walter and Ella F.. Sadler; ed. 
Gray’s Business Coll.; studied with 
Theresa Whittemore and Mrs. Alice 
Boynton; mem. choir St. Luke’s Cathe- 
dral; Sec. Portland Men’s Singing Club; 
mem. Portland Polyphonic Society. Ad- 
dress, 22 Crosby St., Portland, Me. 


St. Germain, Ross, vocalist; mem. Bach 
Choir, Bangor. Address, Bangor, Me. 


Sampson, Arthur Laforest, clarinettist; b. 
Temple, Me., Aug. 25, 1868; s. Rollo S. 
and Julia Gleason Sampson; m. Blanche 
M. Harrington, July 1, 1901; ed. Bates 
College; studied with Charles E. Wheeler, 
W. S. Ripley, Fred Payne, Lewiston; 
mem. Wheeler’s Band, Farmington and 
Bates College Band; director of college 
and school orchestras; has played in 
various orchestras and was concert solo- 
ist for 30 yrs. Vocation, photographer. 
Address, Temple and Farmington, Me. 


Samuels, M. Louise, m.t. Address, 1098 
Mass. Ave., Portland, Me. 


Sanborn, Elizabeth Brown, vocalist (so- 
prano); b. East Machias, Me., March 
5, 1863; d. Joseph G. and Hannah Hunt- 
ley Brown; m. Frank Sanborn, Dec. 5, 
1885; studied with Herbert Harris and 
Lillie P. Shaw; mem. Baptist and Cong. 
Church Choirs, East Machias, Me.; 
mem. Maine Festival Chorus. Address, 
17 Cedar St., So. Portland, Me. 


Sanborn, Frank, vocalist (tenor); b. East 
Machias, Me., Dec. 5, 1843; s. Cyrus and 
Susan Gardner Sanborn; m. Elizabeth 
Brown, Dec. 5, 1885; studied with L. W. 
Wheeler, Boston; mem. Cong. Church 


Choir, E. Machias; mem. Machias and © 
E. Machias Band (trombone) and Ma- — 


chias Orchestra (violin, prompter and 


piano); mem. Mendelssohn Club and — 
17 & 


Maine Music Festival. Address, 
Cedar St., So. Portland, Me. 


Sanborn, Percy A., teacher of violin; b. 
Waldo, Feb. 10, 
Zibiah Sanborn; 


m. Carrie E. Poor 


June 18, 1873; ed. Belfast public schools; — 
studied with Prof. Andy Wyatt of © 
Salem, Mass.; leader Old Belfast Band 
Sanborn’s Orchestra — 


(B flat cornet); 
(violin); author of many articles, prose 


and poetry, for contemporaneous papers; 


manuscript orchestra music; composer, 
violin solos, duos, studies, “Sweetheart, ‘ 
“Legend,” “A rioso,” 


Bravura,” “Pastorale,” “Potacca,’ ~~ Gas 

99 «66 ” 
non Ottava, Happy Days, 
esque, 


“The Mill Stream,” and many others. 


Vocation, artist, oil and water color ~ 
Address, — 


paintings (old time ships). 
Belfast, Me. 
ee T. A., violinist. Address, Belfast, 
e. 


Sands, Eleanor Pepper, vocalist (contral- — 

to), music teacher; b. Lewiston, Me., — 
1885; d. Frederick Bradford © 
(Pepper) Sands; ed. — 


Aug. 15, 
and Harriet E. 
Bates College; studied with William L. 
Whitney, 
Frank Hemstreet, N. Y. 


burg, Pa. 
ker St., New Bedford, Mass. 


Sands, Elizabeth Haynes, pianist, vocalist; r 


b. Bangor, Me., May 12, 1901; d. Charles 


Irving and Etta Canning Haynes; m. — 


Harold Collender Sands, June 10, 1926; 


ed. Presque Isle High, Beal Business Col- @ 
lege, Bangor, and Columbia University, — ' 
N. Y.; studied piano with Ivah Woodbury — 
Phoda Erskine, © 
N. Y.; voice with Alice Kimball, Presque — 
Isle, and Madeline Conant, Boston; or-— 
ganizer of Clef Club and Pres. for. two — 

arm, 3 


Waddell, Presaue Isle, 


years. Address, Salmon Lake 


Spaulding, Me. 


1849; s. Josiah and 


“Romance,” “Vil 
lage Fete,” “Valse D’Amour,” “Hope — 
Triumphant,” “Angel Voices,” “Aria di © 


“Humor- — 
“Rondino,” “Souvenir,” “Idyl,” — 


Boston, A. R. Frank and@ 
; chorus conduc- — 
tor and mem. choirs in Lewiston and — 
Auburn; mem. Philharmonic Club, Lew- — 
iston and Auburn. Vocation, teacher of — 
singing. Res., 26 West 5th St., Blooms- 

Permanent address, 40 Par- — 


g 


BIOGRAPHICAL SECTION— 1927-1928 


Sanford, Lee, bandsman (violin, trom- 
bone); b. Guilford, Me., Jan. 26, 1884; s. 
George W. and Mary A. Sanford; m. 
Margaret E. Whitmore, Aug. II, 1909; 
studied with Emanuel Fiedler and R. B. 
Hall; mem. U. S. Marine Band since 
1907; mem. U. S. M. B. Orchestra; com- 
poser and arranger; compositions in- 
clude “Lincoln Centennial March,” ‘“Sa- 
lute to Washington March,” “Guilford 
Centennial March,’ “Heart and Hand 
Concert Waltz,” for orchestra, and a 
number of trombone solos as well as 
many other marches; played under B. 
W. Thieme in band and orchestra, To- 
gus, 2 seasons, R. B. Hall at Waterville 
and several seasons with the Choral So- 
ciety Orchestra at Bar Harbor; also 
under Walter Damrosch, Gustav Strube 
and Maurice Rumsey. Address, 1437 
Potomac Ave., S. E., Washington, D. C. 


Sanford, Winifred Pennell, concert organ- 
ist, teacher of piano; b. Deering, Me.; 
d. Walter and Annie Cranton Pennell; 
ed. Los Angeles Conservatory of Music 
and Arts; studied with Prof. Wilson 
Moog of Smith College, Elizabeth Mor- 
gan of Europe and Thilo Becker; mem. 
First Methodist Church S. S. Orches- 
tra; Wa Wan Club (900 members, mu- 
sicians, poets, artists, etc.), John Wes- 
ley League, First M. E. Church and 
Philathea Class. Manager and pianist 
Pennell Melody Trio. Address, 2830 
Francis Ave., Los Angeles, California. 


Sansom, Sarah Anne, vocalist (soprano); 
b. Rockland, Me., April 30, 1870; d. John 
and Ellen Crowley Sansom; ed. Rock- 
land, Me.; studied with Major Brit Lord 
and Mrs Minnie Shaw; mem. St. Ber- 
nard’s Church Choir for 16 yrs.; mem. 
Wight Philharmonic Society and Me. 
Festival Chorus for 30 yrs. (charter 
member). Vocation, dressmaker. Ad- 
dress, 10 John St., Rockland, Me. 


Saunders, Fred Prescott, vocalist, choir 
director; b. North Waterford, Me., 
March 30, 1869; s. Joshua and Mary 
Ann Kilbourne Saunders; m. Isabel A. 
Woodbury, Aug. 1, 1907; studied with 
Frank Collins, Portland, N. E. Conserv- 
atory, Boston, and Professor Heinrich 
Hammer, Wash., D. C.; dir. choir and 
church orchestra, Cong. Church, Bridg- 
ton; former mem. Me. Festival Chorus, 
Norway Band, Choral Society, Wash., 
D. C., and Saco Valley Festival Chorus. 
Vocation, dowel mfg. Address, 33 High 
St., Bridgton, Me. 


449 


PHOTO BY 


MINNE SCALAR, DRAMATIC SOPRANO. 
PRAGNALL, LONDON. 


Savage, C., m.t. Address, Caribou, Me. 


Sawtelle, Mrs. M. E., vocalist (soprano); 
mem. Penney Memorial United Baptist 
Church Choir. Address, Augusta, Me. 


Sawyer, Antonia Savage (see Antonia 
Sawyer Miner). 

Sawyer, Mrs. Helen, m.t. 
bridge, Me. 

Sawyer, Roland J., cellist and violinist; b. 
Bangor, Me., Dec. 25, 1874; s. Andrew 
C. and Ella E. Sawyer; m. Helen Hill, 
June 3, 1907; ed. at Bangor and Boston; 
studied with Emil Mollenhaur (violin), 
Alwin Schroeder (cello); concert master 
Bangor Symphony Orchestra, and Pul- 
len’s Orchestra. Address, Bangor, Me. 


Sawyer, William McC., mem. Bd. Dir. 
Eastern Maine Musical Association. Ad- 
dress, Bangor, Me. 


Scalar, Minne (see Minne Scalar Stephens) 


Address, Mil- 


450 MUSIC AND MUSICIANS OF MAINE 


Schneider, Carl, mem. Portland Flutist’s 
Society. Address, Portland, Me. 


Schreyer, Harriet, violinist; mem. Port- 
land Municipal Orchestra. Address, 
Eastland Hotel, Portland, Me. 


Schwenke, Lillian, violoncello; mem. 
Portland Municipal Orchestra. Address, 
Portland, Me. 


Schwenke, Marion L., trombonist; mem. 
Portland Orchestral Society. Address, 
24 Vesper St., Portland, Me. 


Scribner, Sarah W., teacher of piano and 
mandolin; b. South Waterford, Me., Aug. 
4, 1868; d. Charles and Harriet Young; 
ed. Portland High School; m. Charles A. 
Scribner, Nov. 28, 1889; studied with 
Frederick Lincoln, H. Kotzschmar and 
at N. E. Conservatory of Music; super- 
visor of music at Bridgton Academy; 
leader mandolin orchestra; choral con- 
ductor at Universalist and M. 
Churches; conductor community chorus 
and local conductor of Saco Valley Fes- 
tival Chorus at Bridgton; director Bridg- 
ton Unit of State Liberty Chorus. Ad- 
dress, 97 Main St., Bridgton, Me., and 
14 Deering St., Portland, Me. 


Seaford, Mrs. Harry, vocalist; mem. Port- 
land Rossini Club. Address, 88 Ban- 
croft St., Portland, Me. 


Sears, Elsie Dickie, instrumentalist (man- 
dolin, guitar, mandolin-banjo, banjo, 
mando-cello, xylophone, piano); 
Portland, Me., Nov. 16, 1903; d. George 
Edmund and Elizabeth Johnson Sears; 
studied with S. A. Thompson and R. J. 
Robbins; mem. S. A. Thompson’s Or- 
chestra, Portland, and H. F. Odell’s 
Orchestra, Boston, Mass. Vocation, en- 
tertainer in vaudeville, Lyceum and 
Chautauqua Work. Home address, 22 
Cottage St., Portland, Me. 


Seavey, Flora I., m.t. Address, 727 Ham- 
mond St., Bangor, Me. 


Seiders, Mary A., pianist; Treas. and priv. 
mem. Portland Rossini Club. Address, 
45 Thomas St., Portland, Me. 


Sellea, Helen Elizabeth, organist; b. Saco, 
Me.; d. Charles H. and Helen (Mar- 
shall) Sellea; ed. Saco, Me.; studied 
with Charles Shannon, Saco, George W. 
Marston, Portland, Carlisle Petersilea, 
Boston, and Modern Kindu Musical 
Training, N. Y.; activities, formulating 
and developing, according to musical 
law, a “Media for Liberal and Practical 
education for the many as well as the 


few.” 
Me. 


Shackley, Albert, cellist; mem. Deane’s 
Oe Club. Address, Portland, — 
e, | 
Shaw, Alice Marion, composer, teacher — 
piano and theory; b. Rockland, Me., — 
July 22, 1890; d. Erastus Melville and 


Address, 119 Middle St. Saco, & 


Carolyn Burpee Shaw; ed. Rockland, — 


Me., and Institute Musical Art, N. Y. © 
City (grad. artist’s course, medal); stud- — 
ied with Sigismond Stojowski (piano) — 
and composition with Percy Goetschius; 
accompanist for N. Y. Rubinstein Club, — 
3 yrs.; Maine Festival 1916-17; has ac- — 
companied many noted concert artists; 
formerly teacher in Rockland Music 
School, 4 yrs.; composer, 100 songs, or- — 
gan, violin, piano, flute, cello, choruses, 
trios, chamber music. Address, 106 West — 
84th St, Nowe 


Shaw, Mrs. Carrie Burpee, teacher of 9 


piano, organ and harmony; b. Rockland, — 


Me.; d. Hon. N. A. and Mary (Part-@ 
ridge) Burpee; m, Rev. E. Melville — 
Shaw, Oct. 7, 1873; ed. public schools, — 
Rockland, Me.; studied with Stephen — 
Emery, Hermann Kotzschmar, Effa © 
Ellis Perfield, Mrs. Virgil, B. J. Lang, @ 


Thomas Tapper, Dr. Percy Goetschius — 


and F. Lamond; org. Cong., First Bap- 3 
tist, St. Peter’s Episcopal, Pratt Memo- — 
rial, Church of Immanuel, Rockland, 


First Baptist, Portland, and Collegiate — 


Church, Ridgewood, N. J.; mem. Ros- — 
sini Club, Haydn Asso., Portland; Wight — 
Philharmonic Society, Rubinstein and — 
Methebesee Clubs, Rockland; composer, — 
songs, quartettes, choruses, anthems — 
and piano numbers; has taught music in — 
Rockland, Me., Portland, Me, New ~ 
Hampshire, Massachusetts, New Jersey, 
and Washington, D. C.; now teaching — 
in N. Y. Winter home, New York City. 
Address, 43 Park St., Rockland, Me. 


Shaw, Charles Carroll, vocalist (basso): — 
b. Cumberland, Me., April 16, 1876; s. — 
Joseph W. and Mary Gage Shaw; m. — 
Esther L. Parker, June 27, 1907; studied 
with Mrs. Foster L. Haviland; mem. — 
Cong. Church Choir, Gorham; mem. — 
Men’s Singing Club and Harmony Male ~ 
Quartette, Gorham. Vocation, principal — 
Gorham High School. Address, 19 © 
South St., Gorham, Me. 


Shaw, E. Raymond, concert master (vio- — 
lin), Portland Orchestral Society. Stu- — 
dio, 565 Congress St. Res., 129a Spring — 
St., Portland, Me. 


BIOGRAPHICAL SECTION—1927-1928 451 


Shaw, Harriet Reed, teacher of piano and 
organ; b. Bath, Me., Aug. 13, 1874; d. 
Frederick Albert and Flora Adelaide 
Reed; m. John Shaw, Oct. 5, 1898; ed. 
public schools, Bath; studied with Car- 
rie F. Luce, Henry F. Duncan and 
George W. Marston; org. and mem. 
enow »Central Cong. Church; mem. 
Cosmopolitan Club and Central Church 
League; mem. Saint Cecilia Musical 
Club, Mendelssohn Club and Maine 
Music Festival Chorus. Res., 164 Oak 
St., Bath, Me. 

Shaw, Harris S., teacher of piano, organ 
and theoretical music; b. Thomaston, 
Me., Dec., 1882; s. Henry B. and Abbie 
M. Shaw; ed. Thomaston; studied with 
Carl Baermann, Wallace Goodrich, 
Widor, Everett Truette, E. M. Bow- 
man, Chadwick, and Hollins; org. Grace 
Episcopal Church, Salem, Mass., for- 
merly org. First Unitarian Church, 
West Newton, Mass.; Pres. Music Man- 
uscript Club, Boston, Mass.; Vice Pres. 
Pianoforte Teachers’ Society, Boston; 
degree mem. American Guild of Organ- 
ists; National Assn. of Organists; Na- 
tional Music Teachers Assn.; Musical 
Alliance of U. S.; Pianoforte Teachers 
Society, Boston, Psychology Club. Res., 
Trinity Court. Town address, 175 Dart- 
mouth St., Boston, Mass. 

Shaw, H. Earle, vocalist (baritone); dir. 
Kotzschmar Club; mem. Portland Men’s 
Singing Club and Portland Polyphonic 
Society. Address, 50 Westminster Ave., 
Portland, Me. 


Shaw, Helen B., school music supervisor. 
Address, Paris, Me. 


Shaw, Helen M., vocalist (mezzo sopra- 
no), teacher of piano; b. Machias, Me.; 
d. John and Relief A. Shaw; studied 
with Miss Woodman and Miss Dyer, 
Portland; voice with Herbert Harris, 
East Machias, W. H. Whitney, Boston, 
Mrs. H. M. Sawyer and Ivan Morowski; 
sang for 6 yrs. with Handel and Haydn 
Society; taught piano in Machias for a 
number of years. Address, Machias, Me. 


Shaw, Howard N. (drums), music teacher. 
Address, 268 Middle St., Portland, Me. 


Shaw, John, soloist and concert artist 
(baritone); b. Bath, Me., Oct. 18, 1871; 
s. John Oakman and Mary Elizabeth 
Shaw; m. Harriet Ellen Reed, Oct. 5, 
1898; ed. public schools, Bath; studied 
with W. H. Stockbridge, G. F. Sanglier, 
Mrs. M. F. Duncan, Millard Bowdoin, 
A. R. Frank, and Mary R. Low; choir- 


master Central Cong. Church; mem. 
Solar Lodge, No. 14, F. & A. M., Mont- 
gomery and St. Bernard Royal Arch 
Chapter, No. 2, Acadia Lodge, No. 13, 
Keron be Paws vides Garp. Now 46, 
Sons of Veterans, Mendelssohn Club 
and Maine Festival Chorus. Vocation, 
clerk, Hyde Windlass Co. Res., 164 
Oak St., Bath, Me. 

Shaylor, Georgina, vocalist; winner, Young 
Artist’s Contest, Me. Federation of Mu- 


sic Clubs in 1921. Address, Portland, 
Me. 
Shea, Claire, vocalist; mem. Women’s 


Choral Society. Address, 67 Neal St., 
Portland, Me. 


Shea, Louis Fletcher, bandsman (clarinet) ; 
b. Rumford, Me., Feb. 6, 1905; s. James 
and Mary Fletcher Shea; ed. Bates Col- 
lege; mem. Bates Orphic and Lewiston 
Brigade Band; mem. English 4A Play- 
ers, 103rd Infantry Band. Vocation, 
theatre manager. Address, Bates Col- 
lege, Lewiston, Me. 


Sheehan, Etta Reed, cornettist; b. Gar- 
land, Me., 1874; d. ‘Martin V. and Addie 
T. Cram Reed; m. Daniel Sheehan, 
1895; studied with Willard Mayberry; 
mem. Laura Ross’ Orchestra and B. P. 
Woman’s Club Orchestra; mem. Rossini 
Club Orchestra; past leader, Guild of 
Handicraft of Woman’s Literary Union; 
mem. Woman’s Literary Union, D. A. 
R., Woodbine Rebekahs, Portland Psy- 
chology Asso.; Pres. Portland League 
of Women Voters: Address, 96 Atlantic 
St, Portland; Me, 

Shevenell, Yvonne, vocalist (lyric sopra- 
no); b. Biddeford, Me., July 9, 1897; d. 
Joseph and Anna Lord Shevenell; ed. 
St. Joseph’s Convent, Biddeford, Me.; 
studied with Edward Clark, Biddeford, 
and Rupert Neily, Portland, Me.; mem. 
St. Joseph’s Church Choir, Biddeford, 
and Women’s Choral Society, Portland. 
Address, 223 Brackett St., Portland, Me. 

Shields, Hazel, vocalist; mem. Women’s 
Choral Society. Address, Portland, Me. 


Shiffer, Maurice, violinist; b. Auburn, Me., 
Feb. 16, 1913; s. Harry and Leah Hy- 
man Shiffer; ed. Auburn, Me.; studied 
violin with Arthur Pettengill and Josafa 
Morin; mem. Lewiston and Auburn 
Symphony Orchestra. Address, 22 Sixth 
Street, Auburn, Me. 

Shute, Mildred E., m.t. 
port, Me. 

Siegars, Mrs. John Albert, m.t. 
Waterboro, Me. 


Address, Sears- 
Address, 


452 MUSIC ‘AND’ MUSICIANS OF MAINS 


Siegel, Charles, violinist; b. New York 
City, Oct. 20, 1907; s. Joseph and Esther 
Siegel; ed. Bates College; studied with 
Arthur N. Pettengill; mem. Lewiston- 
Auburn Symphony Orchestra, Orphic 
Society and Young Men’s Hebrew As- 
sociation; former mem. Pettengill’s 
Orchestra. Address, 365 Main St., Au- 
burn, Me. 


Siemens, Mrs. Alexander (Frances Dod- 
well), vocalist. Address, Westover, Mil- 
ford-on-Sea, Hants, England. 

Silliman, Rev. Vincent B., vocalist (bass); 
mem. Portland Men’s Singing Club; 
Pastor: First Parish. Church. Portland. 
Address, 105 Pine St., Portland, Me. 


Silverman, Sara, violinist; mem. Mac- 
Dowell Club, Portland. Address, Port- 
land, Me. 

Simard, Angelina, violinist; b. Danville, 
P. Q.; d: Isaie and Claudia Raymond 
Simard; ed. Waterville, Me.; studied 
with Emanuel Ondricek; mem. Phil- 
harmonic Club, Lewiston. Address, 229 
Pine St., Lewiston, Me. 


Simard, William P., leader of Philhar- 
monic Orchestra, Biddeford. Address, 
Biddeford, Me. 


Simensky, Blanch A., m.t. 
Foss St., Biddeford, Me. 


Simmons, Mrs. Gretchen A., m.t. 
dress, 75 State St., Brewer, Me. 


Simonton, William W., music teacher; 
mem. Kotzschmar Club; (trumpet) 
Portland Orchestral Society, 1926. Vo- 
cation, teacher, Portland High School. 
Address, Falmouth, Me. 


Simonton, Mrs. William W., music 
teacher; mem. Marston Club. Res., Fal- 
mouth, Me. 


Sinclair, Marion, school music supervisor. 
Address, Dexter, Me. 

Sirois, Louis, concert pianist. 
Westbrook, Me. 

Skolfield, Alice Jones, 
Paris, Me., May 1, 1844; d. Orrin and 
Phebe Garcelon Jones; m. C. D. Tewks- 
bury, Sept. 6, 1865; m. W. S. Skolfield, 
Oct., 1884; studied voice with W. W. 
Davis, Boston, W. H. Dennett, Port- 
land; piano with W. K. Emminger, H. 
Kotzschmar; began church work (melo- 
deon) at age of twelve in Oxford, Me.; 
formerly org. and dir. at Methodist 
Church, Oxford, Methodist, Auburn, 
Court St. Free Baptist, Auburn, Elm St. 
Universalist, Auburn, Hammond St. M. 
E. Church, Lewiston, Main St. Baptist, 


Address, 108 
Ad- 


Address, 


m.t., organist; b. 


Lewiston, Bates St. Univ., Lewiston, St. 
Patrick’s for 29 consecutive yrs.; accom- 
panist, Ballard’s Choral Union, Men- 
delssohn Club, a performance of Stabat 
Mater under Carl Zerrahn, Boston, The 
Oxford County Musical Asso.; dir. Ce- 
cilia Club; conductor Philharmonic 
Club, Lewiston; former mem. Andro- — 
scoggin Musical Society, Schubert Club, 
Clef Club, Lewiston, and Haydn Asso., 
Portland; former Pres. Clef Club and 
Musical Union; charter mem. Festival 
Chorus; composer church hymns, etc. — 
Address, 39 Howard St., Lewiston, Me. — 


Skolfield, Mrs. Raymond H., m.t. Ad- 
dress, Fort Fairfield, Me. 


Sleeper, Helen Nash, soloist (soprano); b. 
Lewiston, Me., Jan. 12, 1860; d. Ammi R. 
and Julia A. Nash; m. Frank E. Sleeper, 
M.D., Feb. 2, 1888; soloist Hammond 
St. Church, Lewiston; Pres. Musical 
Union, Lewiston, 1902; mem. Mary Dil- 
lingham Chapter, D. A. R., Lewiston; 
Matron of Lakeside Chapter, No. 60, O. 
E. S., Sabattus, 1899-01; Grand Matron, 
O. E. S. of Maine, 1906-7. Res., Sabat- 
tus, Me. 


Slosberg, Charles, teacher of violin. Ad- 
dress, 119 Sherman St., Portland, Me. 


Small, Mrs. Clinton, m.t. Address, Presque 
Isle, Me. 


Small, Harry C., vocalist (tenor); b. Pitts- 
field, Me.; s. David ‘H. and Lillian Small; 
ed. public schools, Pittsfield, and Maine 
Central Institute; studied with Grace 
Rogers; mem. Universalist Church 
Choir. Address, Pittsfield, Me. 


Small, Mrs. Margaret, music teacher; ac- 
companist Me. Festival Chorus. Ad- 
dress, 230 South St., Biddeford, Me. 


Small, William B., bandsman (trombone); 
b. Newmarket, N. H., 1879; s. William 
H. and Ida M. Small; m. Leah F. Cox, 
Jan. 7, 1919; studied with William E. 
Chandler and B. L. Greely, Portland, 
and Archie Cony, Boston; former mem. 
Chandler’s Band; mem. travelling bands 
and orchestras, 1903 to 1917; mem. Ex- 
change Club; Sec. and Manager Cham- 
ber of Commerce, New Smyrna. Ad- 
dress, Chamber of Commerce, New 
Smyrna, Florida. 


Smart, Clara B., vocalist (soprano); mem. _ 


Portland Festival Chorus, 30 yrs. Ad- 
dress, 52 Park St., Portland, Me. 


Smart, Mary C., school music supervisor. 
Address, Dexter, Me. 


Smiley, Luella Cook, vocalist (contralto); 


BIOGRAPHICAL SECTION—1927-1928 453 


b. Auburn, Me., May 25, 1873; d. George 
W. and Luella S. Cooper Cook; m. 
Charles Smiley, Nov. 1, 1898; ed. Kent’s 
Hill Seminary; studied with Will Stock- 
bridge, Portland, and Cora S. Briggs, 
So. Paris; mem. choir Norway Cong. 
iaurch 20 yrs.. Baptist Church, So. 
Paris, and Southern - Pines, N. C., 
Church; former pres. and charter mem. 
Euterpean Musical Club. Address, 1 So. 
Ashe St., Southern Pines, N. C. 


Smiley, Thomas, vocalist. Address, 21 
Longfellow St., Portland, Me. 


Smith, Albert F., pianist; dir. Evansville, 
Indiana, Conservatory of Music; pianist 
Conservatory Trio; formerly mem. 
Chamber Music Club, Portland. Ad- 
dress, Evansville, Indiana, Conservatory. 


Smith, Mrs. Abiel, music teacher, concert 
pianist and accompanist. Honorary 
mem. Portland Rossini Club. Address, 
264 Hamilton St., Albany, N. Y. 


Smith, Albra Vinal, vocalist (contralto); 
b. Vinalhaven, Me., Sept. 29, 1875; d. 
Austin B. and Georgie A. Vinal; m. 
Mark P. Smith, July 3, 1906; ed. N. E. 
Conservatory; studied with Mrs. Hum- 
phrey Allen, Heinrich Meyn, Luise 
Leimer, Edward Hale, Adolph Carpe 
and Samuel W. Cole; chorister and solo- 


ist, Union Church, Vinalhaven. Voca- 
tion, supervisor of music in public 
schools. Address, Box 103 K, Vinal- 
haven, Me. 


Smith, Alfred T., cornettist; mem. Deane’s 
Orchestral Club. Musician. 565 Con- 
gress St. Res., 150 Falmouth St., Port- 
land, Me. 


Smith, Mrs. Augusta Mann, teacher of 
piano, organist; b. Shapleigh, Me., Dec. 
13, 1870; d. John Hanson and Betsey 
Roberts Mann; m. Dr. William Warren 
Smith, Dec. 25, 1894; studied at Shap- 
leigh with Frances Allen and Elizabeth 
Emery, at N. E. Conservatory with L. 
weeeison, i). VV. tale and Charles. F. 
Dennee, and in Portland with Hermann 
Kotzschmar; org. M. E. Church; Pres. 
Ogunquit Woman’s Club, and Chair- 
man of the Music Committee; ‘Past Pres. 
York County Daughters of Hygeia; 
chairman School Board of Wells; dir. 
works County y. W.-C. A. and Public 
Health Asso.; Trustee of the York Hos- 
pital; mem. of the Wells Budget Com- 
mittee; formerly teacher of music in 
Lindsey High School, Shapleigh; also 
taught in Cambridge, Waverly and Pea- 


body, Mass. Address, Main St., Ogun- 
quit, Me. 

Smith, Beatrice Griffith, vocalist, pianist; 
b. Carthage, Missouri, 1888; d. William 
Albert and Mary Candace Berry Griffith; 
m. Thomas S. Smith, Sept. 9, 1912; ed. 
Smith College and Univ. of Illinois; 
studied piano with Helen White; voice 
with Henry Dike Sleeper; mem. choir at 
Unitarian Church at Urbana, Ill., and 
Carthage, Mo.; Pres. Smith Parent Teach- 
ers Asso.; mem. Augusta College Club 
and Cecilia Club. Address, 14 Sewall St., 
Augusta, Me. 


Smith, Caroline Estes, orchestra manager; 
b. No. Lee, Me., Nov. 29, 1880; d. Willie 
Albert and Mary Eva Estes; m. George 
Leslie Smith, Oct. 2, 1899; manager 
Philharmonic Orchestra of Los Angeles. 
Address, 2439 St. Andrews PIl., Los 
Angeles, Cal. 


Smith, Catherine, m.t. Address, 57 Elm 
St., Waterville, Me. 


Smith, Celia French, teacher of voice and 
piano; b. Bucksport, Me., March 16, 
1893; d. Frank F. and Cora H. Smith; 
ed. N. E. Conservatory of Music; stud- 
ied with Charles F. Dennee; mem. choir 
at Bucksport M. E. Church (soprano); 
mem. of Festival Chorus; instructor 
piano, voice and harmony. Address, 80 
Franklin St., Bucksport, Me. 


Smith, Mrs. Clarice M., pianist; mem. 
MacDowell Club and mem. Portland 
Rossini Club. Address, to9 Payson St., 
Portland, Me. 


Smith, Ethelynde, concert artist (sopra- 
no); b. Portland, Me.; d. George E. and 
Harriette Clark Smith; studied piano 
with Lucy Blanchard and Dr. Latham 
True; voice with Clara Tippett and in- 
structors in New York City; made many 
tours of the United States and Canada 
and in 1926 toured Europe in concert 
work. Res., 458 Cumberland Ave., Port- 
land, Me. 


Smith, Florence Maria, teacher of piano; 
b. Springvale, Me.; d. Fred A. and Cath- 
erine Stewart Smith; studied with Dr. 
Latham True in Portland and at New 
York School of Music and Arts; org. 
Pleasant St. Baptist Church; associate 
of Toronto College of Music. Address, 
18 Front St., Springvale, Me. 


Smith, Forest Glen, teacher of violin and 
cornet; b. St. Albans, Me., April 2, 1801; 
s. Theodore and Nina Ross Smith; m. 
Gladys A. Sturtevant, Aug. 25, 1915; ed. 


454 MUSIC AND - MUSICIANS OF MAINE 
prc nen a aa GRRE TETRIS SNOT SET SE 


N. E. Conservatory; mem. Augusta Ca- 
det Band, Smith’s Orchestra and Au- 
gusta Symphony Orchestra; mem. Au- 
gusta Rotary and I. O. O. F. Vocation, 
piano tuner and salesman. Address, 64 
Winthrop St., Hallowell, Me. 


Smith, Harry A., vocal teacher. Address, 
s High St., Waterville, Me. 

Smith, Muriel, pianist; mem. Portland 
Rossini Club. Address, Congress Park, 
Portland, Me. 

Smith, Ralph Fisher, teacher of piano, 
theory, conductor; b. Stonington, Me., 
Jan. 30, 1889; s. William B. and Susan 
Rogers Smith; m. Eva A. Perham, July 
6, 1918; studied at Faelten Pianoforte 
School, Boston, A. E. F. Bandmasters 
School, Chaumont, France, New York 
University, Commonwealth School of 
Music, Boothbay Harbor, and with Ar- 
thur Foote, Boston; Frances Casadesus 
and Jacques Pillois, Chaumont, France; 
mem. 72nd C. A. C. Band, 1917-18 
(French horn); mem. various Bangor 
church choirs; mem. Geo. Edwin Kirk 
Post, Am. Leg., and Bar Harbor Lodge, 
F. and A. M.; Vice Pres., Maine Music 
Supervisors Asso., 1922-23; sup. of mu- 
sic, Bar Harbor, Me., 1921-24; head of 
music dept., Albany High School, Al- 
bany, N. Y., 1925-26; dir. of music edu- 
cation, Reading, Pa., 1927. Address, 242 
Endlich Ave., Mt. Penn., Reading, Pa. 


Smith, Richard Stanley, vocalist (bari- 
tone); b. Saco, Me., May 24, 1905; Ss. 
John G. and Mary Gooch Smith; ed. 
Thornton Academy; studied with Ruth 
Olive Roberts, George Reny, Fred La- 
vigne and Willard Mayberry; org. Bap- 
tist Church, Kennebunkport, Me.; mem. 
Biddeford National Band (cornet). Ad- 
dress, 86 High St., Saco, Me. 


Smith, Robert Thornton, vocalist (bass) ; 
b. Saco, Me., Sept. 16, 1907; s. John G. 
and Mary Gooch Smith; ed. Phillips- 
Exeter, Exeter, N. H.; studied with 
Ruth Olive Roberts, Fred Lavigne, Wil- 
liam Simard, Bernard Greeley; org. 
Baptist Church, Kennebunkport, Me.; 
mem. Phillips-Exeter Glee Club; mem. 
Biddeford National Band (trombone); 
mem. Phillips-Exeter Orchestra. Ad- 
dress, 86 High St., Saco, Me. 

Smith, Walter Stevens, org.: b. Portland, 
Me., July 27, 1864; s. Abiel M. and Annie 
Willey Smith; m. Harriet Marston Thom- 
as, 1885; studied with George W. Mar- 
ston, Hermann Kotzschmar and Mrs. 
Elizabeth Smith; org. First Parish, Sec- 


ond Parish, Free St. Baptist, High St. 
Cong. and Cong. Square Univ. Churches; 
mem. Portland Branch, N. E. Chapt. 
Am. Guild of Organists; former mem. 
Kotzschmar Club; org. for Masonic 
bodies for 40 yrs. Vocation, bookkeeper. 
Address, 257 State St., Portland, Me. 


Smith, Wynifred Staples, vocalist (sopra- 


no), concert soloist; b. Carthage, Me.., 
Sept. 17, 1881; d. Eugene Hale and 
Pamelia Sanborn Staples; m. Frederick 
Wilhelm Smith, Feb. 17, 1901; ed. Co- 
burn Classical Institute and Pratt Insti- 
tute, N. Y.; studied with Mrs. Hubbard, 
Waterville, Charles Stuart Phillips, 
Brooklyn, N. Y., and Dudley Buck, N. 
Y.; mem. choir Holy Trinity Church, 
Brooklyn, 1 yr.; soloist St. Mark’s, 
Brooklyn, 1 yr., Elm St. Univ., Auburn, 
Me., 2 yrs.; substitute work throughout 
the state for 20 yrs; soloist at Univer- 


salist Church, Rumford; teacher of 4 


voice culture and music in public schools 
for many years. Res., North St., Dix- 
field, Me. 


Smyth, Olive, vocalist; mem. Bach Choir, 


Bangor. Address, Bangor, Me. 


Snell, June, school music supervisor. Ad- 


dress, Wilton, Me. 


Snell, Lillian Lucinda, instrumentalist 


(trombone, piano and saxophone); b. 
Dexter, Me., May 15, 1873; d. William 
Collins and Mary Jane Atwater; m. 
Clyde Hosea Snell, June 24, 1908; stud- 
ied with Prof. Fowler, Carter, Greeley, 


Leonard and others; dir. Fay-Scott qa 


Band and asst. dir. Dexter Orchestral 
Club; mem. Royal Neighbors; was 4 
yrs. on road with Snell’s B. & O. Band 
(organizer); composer, “Just For To- 
Night.” Vocation, music teacher, school 
music supervisor. Address, Box 171, 
Wilton, Me. Mail address, General De- 
livery, Danbury, Conn. 


Snow, Mrs. David W., hon. mem. Port- 


land Rossini Club. Address, 131 Park 
St., Portland, Me. 


Snow, Mrs. Edward H., vocalist; priv. 


mem. Portland Rossini Club; mem. 
Women’s Choral Society. Address, 56 
Carleton St., Portland, Me. 4 


Snow, Harriett C., vocalist; b. Vinalhaven, 


Me., Sept. 11, 1884; d. Charles C and 
Nellie H. Carver; m. Robert A. Snow, ~ 
June 18, 1908; studied with Alice G. ~ 


Lane and Allan Ramsay; mem, Univer- _ 


salist Church Choir, 2 yrs.; mem. Rubin- 
stein Club and Philharmonic Society, — 


BIOGRAPHICAL SECTION— 1927-1928 Ass 


Rockland. Address, 21 Suffolk St., 
Rockland, Me. 


Snow, Mary Louise, vocalist (soprano); b. 
Bangor, Me., May 13, 1893; d. Joshua 
H. and Nellie Sweetser; m. Percy F. 
Snow, Sept. 7, 1921; ed. Gorham Nor- 
mal; studied with Mrs. Madge Small 


training with Grace Rogers, Pittsfield, 
and Mrs. Jessie C. Cann; mem. Univ. 
Choir for many years; choir dir. and 
soloist Bethany Baptist Church, Skow- 
hegan, Me.; mem. Univ. Church, U. L. 
A. S. and Rebekah Lodge. Address, 6 
West St., Pittsfield, Me. 


Spear, Mrs. Eva F., vocalist (soprano); 
mem. choir United Baptist Church, Lew- 
iston, Me. Address, Lewiston, Me. 

Spenard, Miss E., org. St. Andres Church, 
Biddeford. Address, Biddeford, Me. 


Sprague, Adelbert Wells, conductor, 


and Martha Wasson; mem. B. P. Wom- 
en’s Club; and Women’s Literary Union; 
teacher in public schools. Address, 94 
Pleasant Ave., Portland, Me. 


Soule, Lillian M., vocalist, pianist; b. Lew- 
iston, Me., Sept. 27, 1883; d. Elmer W. 


and Nellie Davis Soule; ed. Lewiston 
Normal School; studied voice with Mrs. 
Louise Bitter and E. W. Hanscom and 
piano with Beatrice Phaneuf; leader of 
singing and asst. supt. of Primary Dept. 
of the United Baptist Church; mem. 
Philharmonic Club; former mem. Lew- 
iston-Auburn Festival Chorus, Lewis- 
ton-Auburn Oratorio Chorus. Vocation, 
public school teacher. Address, 146 
Pettengill St., Lewiston, Me. 


Soule, Mrs. Mildred, vocalist ;mem.Wom- 
en’s Choral Society. Address, 18 Bel- 
mont St., Portland, Me. 


Spalding, James Alfred, M.D., music crit- 
ic, author, pianist; b. Portsmouth, N. H., 
Aug. 20, 1846; s. Lyman Dyer and Su- 
san Parrott Spalding; m. Sarah Chase 
Shepley, Nov. 16, 1882; ed. Dartmouth 
College, A.B. degree, 1866, Harvard 
M.D., 1870; comp. mem. Portland Ros- 
sini Club; author of “Essays on Schu- 
bert,” “Pronunciation of the names of 
musicians” and made many piano ar- 
rangements of orchestral scores, for two 
and four hands, 145 Medical Essays, 3 
Lives, 188 Maine Medical Biographies; 
his musical-literary library is said to be 
the finest in Maine, consisting of more 
than 200 volumes of lives of the music 
masters and essays on music in all its 
branches. Also has collection of more 
than one hundred volumes of original 
four hand pieces, pianoforte duets, as 
well as arrangements of all the old mas- 
ters in music and many of the new. 
Vocation, eye and ear specialist. Ad- 
dress, 627 Congress St., Portland, Me. 


Spaulding, Helga Bostrom, vocalist, so- 
‘prano soloist, teacher of voice; b. Pat- 
ansbyn, Sweden, Sept. 20, 1887; d. Peter 
and Christina Ericson Bostrom; m. Her- 
bert L. Spaulding, April 28, 1910; stud- 
ied with Ernest Hill, Portland, Me., Don 
Morrison, Oberlin College, J. Francis 
McNichol, Augusta, Me., and _ choir 


teacher of theory, composition, and 
cello; lecturer, publicist; b. Boston, 
Mass., March 1, 1881; s. Frederick El- 
mer and Harriet Cordelia (Wells) 
Sprague; ed. Univ. of Maine (S.B. 
1905); studied with private teachers and 
Music Div. Harvard Univ. (M.A. 1907); 
conductor Bangor Band and Bangor 
municipal concerts since 1908; member 
Bangor Symphony Orchestra since 1807, 
cellist, first cellist, asst. conductor; con- 
ductor since 1920; bandmaster 2d Maine 
Infantry Band, 1909-1915; Director 
Dept. of Music, Univ. of Maine, since 
1916; conductor Bangor Festival Chorus 
since 1912; mem. Executive Board, East- 
ern Maine Music Festival; Vice Pres., 
1925-1927; conductor since 1926; mem. 
Phi Beta Kappa, Phi Kappa Phi, Kappa 
Sigma, Masons, 32d degree Scottish 
Rite, Knights Templar, Mystic Shrine, 
Sons of Veterans; composer orchestra, 
organ, band, ensemble. Vocation, direc- 
tor dept. of music, Univ. of Maine; con- 
ductor. Summer home, Newport, Me. 
Res., 217 Union St., Bangor, Me.; o., 
350 Arts and Sciences Bldg., Univ. of 
Maine, Orono, Me. 


Sprague, Mrs. M. Irene King, teacher of 


piano and harmony; b. Minneapolis, 
Minn., Dec. 26, 1883; d. Ephraim and 
Julie West King; ed. Minneapolis School 
of Music; m. Adelbert Wells Sprague, 
1926; studied with Maurice Eisner and 
Magendanz of Utica Conservatory, Ed- 
win Klahre of New England Conserva- 
tory and Prof. Clarence G. Hamilton: 
received teacher’s certificate in piano 
teaching, harmony, music form and in- 
terpretation; in 1921 took Master’s 
Course, at Chicago Musical College and 
studied with Rudolf Ganz. Address, 217 
Union St., Bangor, Me. 


Sprince, Henry, vocalist (tenor); b. Paris, 


France, Aug. 16, 1898; s. Morris and 
Elizabeth Sprince; ed. Bowdoin College, 
McGill Medical University; studied with 


456 


J. K. SPRINGALL, VIOLINIST AND TEACHER. 


Profs. Wass, Horne and Pettengill; 
mem. Parker Glee Club of Lewiston, 
Associated Glee Clubs of America, Bow- 
doin College Band and Musical Clubs; 
mem. Old Orchard Pier, Imperial Roof 
Garden and Henry Sprince’s Banjo-Sax 
Orchestras; mem. Sigma Alpha Mu 
Fraternity and American Federation of 
Musicians; composer, “L. H. S. For- 
ever,” “Sigma Alpha Mu Purple,” and 
“Tdle Moments in Syncopation.” Voca- 
tion, physician. Address, 481 Main St., 
Lewiston, Me. 


Springall, Joseph K., teacher of vocal and 
instrumental music; b. Dexter, Me.; s. 
Joseph and Maria Springall; ed. Boston, 
Philadelphia, New York, London and 
Paris; studied with Frederic Peakes, 
Eugene Thayer and John Orth; organ- 
ist and choir director, First Universalist 
M. E. Church, Dexter. Address, Dexter, 
Me. 


Stackpole, Mary Elwell, vocal teacher 
(soprano); b. Whitneyville, Me.. April 
29, 1872; d. William Bartlett and Mary 
(Hanscom) Elwell; m. Samuel Hill 
Stackpole, Oct. 15, 1892; studied with 
W. H. Dennett, 
Portland and G. L. Horne of Lewiston; 
mem. High St. Cong. Church Choir, 


Elizabeth Brown of’ 


MUSIC AND MUSICIANS OF MAINE 


Auburn, Court St. Baptist Church 
Choir, Auburn, Second Parish Church 
Choir, Portland; Sec. and Treas. Far- 
mington Festival Chorus, 1897. Address, 
ot Main St., Farmington, Me. 


Stacy, John F., vocalist (baritone); Db. 
Bath, Me., Nov. 4, 1874; s. George L 
and Annie E. Cook Stacy; m. Annie L. 
Frazier, Dec. 28, 1897; ed. Bath, Me.; 
studied with Payne and Maloney; mem. 
Swedenborgian Church Choir; mem. 
Gaudreau Concert Band and Payne 2nd 
Regiment Band, Lewiston; mem. Bruns- 
wick Orchestral Society, Colonial Club 
and Local 760. Vocation, piano tuner. 
Address, 31 Pleasant St., Bath, Me. 


Stacy, Reginald, saxophone soloist; b. 
Bath, Me., April 6, 1899; s. John F. and 
Annie Frazier Stacy; ed. Bath, Me.; 
studied with Joseph Gaudreau; mem. 
Gaudreau’s Concert Band and Ed. 
Brown’s Famous Orchestra; mem. Co- 
lonial Club, Bath, Y. M. C. A. and Local 
760. Address, 31 Pleasant St., Bath, Me. 


Stahl, Marjorie, music teacher; accompan- — 


ist Me. Festival Chorus. Address, 97 
Limerock St., Rockland, Me. 


Staley, Lavanche Knight, vocalist; mem. 
Fremstad Music Club, Bridgton. Ad- 
dress, Bridgton, Me. 


Stanley, Dr. J. P., vocalist; mem. choir 
Pine St. Cong. Church. Address, Lew- 
iston, Me. 


Stanley, Marion Isabelle, concert artist 
(lyric soprano); b. Boston, Mass, but 
was a resident of Winslow, Me., for 25 
yrs.; d. Frank and Blanche Stanley: 
studied 5 yrs. with Isidore Braggiotti 
(voice); pantomime and lyric action 
with Clayton Gilbert of N. E. Conserva- 
tory: dramatic action with Albert 
Cowles of the Albert Cowles School of 
the Theatre; coached opera at the Vin- 
ello-Johnson School of Opera and in 
Europe with Maestro Eduardo Cabella 
and Renato Bellini; studied languages 
abroad and with native teachers in 
America; also studied voice with Mrs. 
Jessie Hubbard; director and soloist at 


Central Methodist Church. Hot Springs, | 
Arkansas: was mem. of Maine Music — 


Festival Chorus, § yrs.; mem. Daughters 
American Revolution, Pythian Sisters, 


Odd Ladies, American Legion Auxili- — 


ary. Vocation, vocal teacher and con- 
cert artist. Res., 71 Benton Ave., Water- 
ville, Me. Mail address, 323 Olive St., 
Hot Springs, Arkansas. 


Stanwood, Ernest T., vocalist (tenor) and © 


e eS a a | 


ae VS 


BIOGRAPHICAL SECTION—1927-1928 457 


teacher of piano; b. Brunswick, Me., 
May 16, 1899; s. John R. and Helen 
(Merriman) Stanwood; organist Uni- 
versalist Church, Brunswick; studied 
with Carrie Campbell, Latham True 
and Howard Stevens; mem. Maine Fes- 
tival Chorus. Address, 61 Federal St., 
Brunswick, Me. 


Stanwocd, Thora I. C., soprano soloist; b. 
Boston, Mass., Jan. 2, 1898; d. John 
Giorloff and Ingeborg Ahrens Giorloff; 
m. Creighton Boyd Stanwood, Sept. 9, 
1922; ed. Ottawa, Can., and Boston, 
Mass.; studied with Mme. Axeline de 
Berg Lofgren. Boston (voice); mem. 
Philharmonic Club; Pres. 1924-75. Res., 
434 Penobscot Ave., Millinocket, Me. 


Staples, Eugene Hale, vocal teacher, solo- 


ist (tenor); b. Carthage, Me., Dec. 14, 
1857; s. John B. and Lois Parker Sta- 
ples; m. Eva Sanborn, Nov. 14, 1878; ed. 
public schools Carthage and Lewiston, 
Me.; studied with B. F. Emerson; mem. 
Asa Youngman’s Orchestra; Master of 
Grange; teacher of singing classes and 
community concerts for many years; or- 
ganizer singing classes, leader in gospel 
and revival music at camp meetings and 
other religious meetings. Vocation, 
farmer and breeder of live stock and 
supervisor of music, Dixfield Public 
Schools. Address, Dixfield, Me. 


Staples, Ruth May, violinist, concert solo- 
ist, recitalist; b. Turner, Me.. Sept. 16, 
ios a tiasty WwW. and .Tennye S. 
Staples; ed. N. E. Conservatory; stud- 
ied with Josef Udell, Portland, and Hugo 
Kottschak of N. Y. City; mem. Lewis- 
ton-Auburn Symphony Orchestra and 
Philharmonic Club, Auburn, Me. Voca- 
tion, teacher and soloist. Address, 643 
Main St., Lewiston, Me. 


Starbird, Angie, teacher of piano; b. Litch- 
field, Me.; d. James Wilbur and Barbara 
Robinson Starbird; studied with Mrs. 
William Scholfield, E. W. Hanscom, 
Mary A. Bass and Dr. Arthur Foote: 
formerly organist at Auburn M. E. and 
Baptist Churches; former mem. Spinet 
Club, Philharmonic Club and Festival 
Chorus; activities, club and lecture recit- 
als. Address, 96 Wood St., Lewiston, 
Me. 


Stearns, Louis C., mem. Bd. Dir. Eastern 


Maine Musical Association. Address, Ban- 
gor, Me. 

Steele, Mrs. Ethel Gould, honorary mem- 
ber Philharmonic Club, Auburn-Lewis- 
ton. Address, Lewiston, Me. 


Stephens, Minne Scalar (Minnie Plum- 


mer), prima donna; b. West Paris, Me.; 
d. Zilpha Anne and John Fellman Plum- 
mer; m. Dr. Charles Asbury Stephens of 
The Youth's .Companion; received in- 
struction in English and music from her 
mother; at six yrs. of age studied piano 
with a N. Y. teacher, teaching in Essex, 
Conn.; at nine yrs. had five piano pupils; 
studied piano, organ and composition 
with Hermann Kotzschmar; voice with 
William H. Stockbridge, Portland, Me.; 
later studied piano with Edward Mac- 
Dowell; voice with Samuel F. Whitney, 
Boston; organ with Alexander Guilmaunt; 
voice with Trobadello, Paris, France; 
contralto roles in Italian with Vannucini; 
French roles with Ernest Van Dyke in 
Belgium; was org. at First Baptist, Con- 
egress Square and Williston Churches, 
Portland; succeeded Harvey Murray as 
accompanist of the Hadyn Chorus (1894- 
97); taught classes at Hebron Academy 
and at Paris, Bethel, Norway and Porxt- 
land, Me.; made debut in French Opera 
at The Hague, Holland, in “Aida” as 
Minne Scalar; sang 2 yrs. at The Hague 
in “Aida.” “Les Huguenots,” “L’Afri- 
caine,” “Faust,” “Lohengrin.” “Tannhau- 
ser,’ “Herodiade” and “Il Trovatore’; 2 
seasons at Covent Garden, London; at 
Hague created the role of the Tosca in 
“La Tosca” and the Fiancee in “La Fi- 
ancee de la Mer,” and at London the role 
of Lorelei in “The Lorelei’; sang San- 
tuzza in “Cavaleria Rusticana” and Ame- 
lia in “Il Ballo in Maschera”; sang en 
representation at Amsterdam, Nice, Rot- 
terdam, Schevenengen, Ostende, Berke, 
Alsace Loraine, Paris, etc.: sang Wag- 
nerian roles at the Grand Opera, Paris; 
repertoire, 30 operas in different lan- 
guages; in I9QI1I returned to America and 
retired from opera; “Scalar,” which, in- 
terpreted, is “climbing the stairs,” was 
bestowed on her by the French people. 
Res., The Laboratory, Norway Lake, M:. 


Stephenson, Ronald B., m.t. Address, 779 


Congress St., Portland, Me. 


Stetson, Clarence C., Pres. Eastern Maine 


Musical Association. 
Me 


Address, Bangor, 


Stevens, Caroline W., author, music editor; 


b. Portland, Me., d. Samuel H. and Sarah 
M. Stevens; ed. public schools of Port- 
land; author, “Melody in Maine” and 
other poems and music reviews with 
page articles on Maine Music Festival, 
reported every music festival in Port- 
land for 30 years; society and music edi- 


458 MUSIC AND: MUSICIANS OF MATS 


tor, Portland Express and Telegram. 
Address, 78 Winter St., Port'and, Me. 


Stevens, Emily Wilson, vocalist (contral- 
to); b. Frenchboro, Me., March to, 1880; 
d. Byron C. and Victoria A. Wilson; m. 
John O. Stevens, June 10, 1908; ed. 
Thomaston, Me.; studied with Grace 
Phelps Armstrong and Lillian S. Copp- 
ing; Treas. Rubinstein Club, Rock!'and, 
Me: Councillor Gen. Knox Chapter, D. 
A. R., Thomaston, Me; Sec. American 
Legion Auxiliary to Winslow-Holbrook 
Post, No. 1; mem. D. A. R., Philhar- 
monic Society. Shakespeare Society. 
Address, 48 Talbot Ave., Rockland, Me. 


Stevens, Howard Reed, soloist (baritone), 
vocal teacher; b. Portland, Me., Oct. 14, 
1876; s. William H. and Sara Reed Ste- 
vens; m. Mildred Merryman, May 25, 
1913; ed. Portland, Me.; studied with 
Stockbridge, Olmstead. Saenger. Mee- 
han, Bristol! and H. M. Stanley. Lon- 
don; mem. Congress Sq. Universalist 
Church Choir. 17 yrs, Mozart Quar- 
tette, Ancient Landmark Quartette 
(Masonic), Kotzschmar Club, 1904-15; 
Vice Pres. Portland Men’s Singing 
Club (charter member): dir. Girl’s 
Chorus, Waynflete School. Res.. 160 
Falmouth St. Studio, 537 Congress St., 
Portland. 


Stevens, Nellie French, pianist: b. Read- 
field, Me.. June 18. 18091; d. Charles 
Haynes and Charlotte French Stevens; 
asst dir. Coburn Classical Institute, 
Waterville, Me.; teacher piano and har- 
mony. Address. Coburn Classical Insti- 
tute, Waterville, Me. 


Stevenson, Esther M., school music super- 
visor. Address, Camden, Me. 


Stevenson, Louis S.. mem. Portland 
Branch, N. E. Chant. Am. Guild of Or- 
ganists. Address, Portland, Me. 


Steward, Mrs. Philo, m.t. Address, Skow- 
hegan, Me. 


Stewart, Harriett Louise, organist: b. 
Bangor, Me.; d. Alfred O. and Mary 
Elizabeth (Farnham) Stewart: ed. Ban- 
gor and New York: studied with How- 
ard Brockway and Mrs. David Mannes, 
N. Y.; at age of seventeen played organ 
First Baptist Church, Bangor, and con- 
tinued as organist at that church for 25 
_yrs.; org... Bar blarbor Church, 4, yts., 
org. and choir dir. Universalist Church, 
Bangor, Me.; mem. Bangor Festival 
Chorus (alto). Address, Bangor, Me. 


Stewart, Hartley M., vocalist (baritone); 


b. Hodgdon, Me., Dec. 9, 1887; s. Albion 
A. and Etta Bither Stewart; m. G. Maie 
Auber; ed. Ricker Classical Institute; 


studied with Warren W. Adams, Bos- _ 


ton, Mass.; mem. choir Meth. Epis. 
Church, Houlton; mem. Meduxnekeag 
Club, Masons, Eastern Star, Grange, 


Farm Bureau; Past Patron Fidelity — 


Chapter, No. 32, O, Ei, S.28 Master oe 
Houlton Grange, No. 16; formerly mem. 
Cecilia Society, Boston, and Houlton 
Male Musical Society. Address, Houl- 
ton, Me. 


Stilphen, Cecil E., instrumentalist (trum- 


pet); b. Pittston, Me., Oct. 17, 1885; s. 
A. L. and Georgia Hayland Stilphen; 
m. Blanche Haskell, July 5, 1911; stud- 
ied with B. W. Thieme; mem. Deane’s 
Orchestral Club, 1926. Vocation, cigar 
mfg.; Treas. Sebago Cigar Co. Office, 
11 Exchange St Resp ropsan see 
Portland, Me. 


Stilphen, Harry Leslie, instrumentalist 


(baritone, trombone, cello): b. Pitts- 
ton, Me., Jan. 24, 1883; s. Alfred L. and 
Georgia Hayland Stilphen; m. Laura 
Mary Hall, Aug. 6, 1910; ed. Bridge 
Academy and University of Vermont; 
studied with B. W. Theime; mem. Rich- 
mond Band; mem. Togus Band, 4 yrs.; 
mem. Deane’s Orchestral Club; Mason; 
Pres. Sebago Cigar Co. Vocation, phy- 
ae Res., 53 Main St., Richmond, 
e. 


Stimson, Frank W., composer, instrumen- 


talist; b. Gray, Me.; s. Horace O. and 
Augusta M. Fling Stimson; m. Jennie E. 
Mace, Dec. 5, 1886; studied with E. A. 
Blanchard, Portland, !George Weigauil 
and Charles Semielein, N. Y.; former 
mem. Maine Festival Orchestra, Innes’ 
Concert Band (trombone and asst. con- 
ductor), Jefferson Theatre Orchestra; 
dir. theatre orch., Cape Elizabeth, 10 sea- 
sons, Velencia Orch., Hoboken, N. J., 
1885 to 1888; composer “Neptune’s Car- 
nival,” concert overture, “Voice of 
Spring,” waltz for soprano and orchestra, 
and over fifty numbers for both orches- 
tra and band; mem. Am. Geographical 
Society and Machias Chamber of Com- 
merce; former officer in American Fed- 
eration of Musicians. Vocation, book- 
pee Address, 38 Broadway, Machias, 
e 


Stinchfield, Oliver Dorrance, organist and 


instrumentalist (English horn); b. Dan- 
ville, Me.; s. Jeremiah and Sarah Bridg- 
ham Stinchfield; m. Lizzie R. Symonds; 
studied at N. E. Conservatory; org. St. 


BIOGRAPHICAL SECTION — 1927-1928 459 


Patrick’s and St. Joseph’s Churches for 
20 yrs.; mem. Ballard’s Orchestra, Lew- 
iston; first local conductor Lewiston and 
Auburn Festival Chorus, 1897-1808; 
composer, church music; conductor, 
Mechanic Falls Festival Chorus, 18097. 
President, 1900. Vocation, piano tuner. 
Address, 15 Vine St., Auburn, Me. 


Stockbridge, Anna, vocalist, pianist, ac- 


companist; b. So. Freeport, Me.; d. 
Micah and Lorenda Grant Stockbridge; 
ed. Yarmouth Academy; studied with 
George W. Marston and Mr. and Mrs. 
W. H. Dennett; soprano soloist Pine St. 
Chorens (sewiston, and So. Freeport; 
hon. mem. Portland Rossini Club; mem. 
Festival Chorus. Teacher of voice and 
Pianos kh. -..D,, No. 4, Freeport, Me. 


Stockbridge, Ira Cushing, organist; b. So. 


Freeport, Me., April 22, 1842; s. Micah 
and Lorenda Warren Grant Stock- 
bridge; ed. Freeport and Yarmouth 
Academy; studied with H. Kotzschmar 
and Geo. W. Marston; organist First 
Baptist, State St, and Congress Sq. 
Churches; Treas. of Old Kreutzer Club; 
conductor of musical clubs; manager 
and owner of the famous Stockbridge 
Entertainment Courses and the Stock- 
bridge Popular and Matinee Courses; 
composer, quartette, “Dream of Home,” 
“The Old Canoe,” “Peace on the Deep,” 
“Evenine Bells,” “Cradle Song,’ “I 
Cannot Spin To-night,” “Sweet Nellie 
Polka,” “Dreamland Waltz,” “Watching 


1895; d. Jones W. and Charlotte E. 
racy. Harl Be Storer; June 25,1917; 
studied with Ethelynde Smith and Allan 
Ramsay; mem. Rubinstein Club, Rock- 
land; choir leader and mem. of numer- 
ous choirs in Bath and Rockland. Ad- 
dress, 54 Suffolk St., Rockland, Me. 


Storey, P. J., flutist; mem. Portland Flut- 


ist $2 o0ciety; “inusician, 20 -Preble St. 
Res., Congress Sq. Hotel, Portland, Me. 


Stott, Harry, teacher of piano and organ; 


b. Halifax, England, March 8, 1882; s. 
Levi and Mary J. Stott; m. Louise Car- 
oline Graeber, 1913; studied with La- 
tham True and at Dominion College, 
Montreal, Canada (degree L.D.C.M., 
1924); org. Ignatius Church; officer San- 
ford Town Club; composer of masses 
for Catholic Church, hymns, part songs 
and solos; diploma from Westminster 
Choir School, London; grad. with di- 
ploma from N. Y. School of Music and 
Arts, 1912; lecturer on Gregorian Chant 
and liturgical music; author articles on 
music. Address, 29 Elm St., Sanford, 
Me. 


Straw, Howard M., instrumentalist (vio- 


lin, trombone); b. Brownfield, Me., 
1884; s. William and Emma Libby 
Straw; studied with Frank Burnham; 
mem. Paramount and Straw’s Orches- 
tras; conductor, Paramount Orchestra; 
mem. Masons, Elks, K. of P. Address, 
o1 Winter St., Portland, Me. 


Strayholm, H., vocalist; mem. Temple 
Quartette. Address, Kennebunk, Me. 


Strickland, Anna, vocal teacher. Address, 
73 Grove St., Bangor, Me. 


Strout, Margaret, vocalist (soprano); b. 
Deering, Me., July 31, 1895; d. John 
Charles Fremont and Gracia Hilbourn 
Strout; ed. Woodfords, Me.; studied 
with Martha Wasson; Sec. Woman’s 
Choral Society; mem. Williston Church 
Choir and former mem. Charles Griffes 
Club. Vocation, stenographer. Address, 
899 Forest Ave., Woodfords, Me. 


Stuart, Mae, teacher piano and organ; b. 
Augusta, Me., Nov. 22, 1864; d. R. K. 
and Love Stevens Stuart; m. B. P. 
Stuart, May 31, 1888; studied with Mrs. 
Myrick of Augusta and H. Kotzschmar 
of Portland. Address, Belgrade, Me. 


by the Sea,’ “The Old Millstream.” 
Piano and music dealer. Address, R. F. 
D., No. 4, Freeport, Me. 


Stoddard, Amy Ellura, teacher of piano, 
organist; b. Athol, Mass., Sept. 109, 1883; 
d. Dr. Augustine O. and Martha Smart 
Stoddard; ed. Boston, Waterville and 
Pasadena, Cal.; studied with Madame 
Beale Morey, Boston, Mrs. C. E. White 
and Prof. Hallett of Colby College, 
Waterville; accompanist and organist 
Cong. Church, Belfast; formerly accom- 
panist Belfast Festival Chorus; Regent 
of John Cochran Chapt., D. A. R.; mem. 
Primrose Chapt., No. 52, Eastern Star, 
and North Church Guild; Vice Pres. 
Business and Professional Women’s 
Club; teacher of music in the Girl 
Scouts. Address, 68 Church St., Belfast, 


Me. ie ae 
Stone, Mrs. Lester F., m.t. Address, No. aie sles Erato cousin leant Meer 
Haven, Me. , “) gn. es 


win and Jennie Hunter Howard; m. 
Philip Dana Stubbs, Oct. 14, 1908; stud- 
ied with Willis Bacheller, Jessie Hub- 


Storer, Lydia Rachel, vocalist (contralto) ; 
b. Southwest Harbor, Me., Dec. 20, 


460 


bard, Isidore Braggiotti; mem. South 
Cong. Church Choir, Augusta, and 
Friend’s Church, Winthrop Center, Me. 
Res., 39 Western Ave., Augusta, Me. 


Stubbs, Mrs. Richard H. (Ethelyn Hope), 
soloist, concert artist (dramatic sopra- 
no); b. Linneus, Me.; d. Edwin C. and 
Mary Bither Burleigh; m. Richard H. 
Stubbs, M.D., April 20, 1904; ed. St. 
Catherine’s, Augusta, and Mrs. Hayes 
Private School, Boston; studied with 


Charles R. Adams, Boston, Jessie Hub- ’ 


bard, Waterville, Willis Bacheller, N. Y. 
City, and Isidore Braggiotti, Boston; 
Pres. and Sec. of the Music Asso. of the 
State of Maine; former mem. Cecilia 
Club; the famous Maine Class (com- 
posed of singers from all parts of Maine) 
met at her home bi-weekly for 5 yrs. to 
study with Isidore Braggiotti, master 
vocal teacher. Res., 133 State St., Au- 
gusta, Me. 


Sturtevant, Bhima MacDonald, vocalist 
(mezzo-soprano); b. Detroit, Michigan; 
d. Thomas Edward and Esther John- 
ston MacDonald; m. James M. Sturte- 
vant, M.D., Dec. 15, 1915; ed. Master 
School, Brooklyn, N. Y., and Peabody 
Conservatory, Baltimore, Md.: studied 
with Jennie King Bragdon, Madame 
Jaeger and Minetti; mem. Portland 
Rossini Club. Address, 156 8oth St., 
Jackson Heights. New York. 


Sturtevant, Chester H., vocalist (tenor); 
b. Fayette, Me., May 4, 1866; s. Josiah 
H. and Helen E. (Ormsby) Sturtevant; 
m. Charlotte L. Ham, July 20, 1808; 
studied with W. H. Stockbridge and 
Beulah Small; mem. choir First Baptist 
Church, Waterville, and First Baptist 
Church, Livermore Falls; mem. Liver- 
more Falls Festival Chorus; asst. con. 
1917, Vice Pres. 1916, Treas. 1913. Vo- 
cation, Treas. Livermore Falls Trust & 
See ae Co. Address, Livermore Falls, 
e. 


Sweatt, Ida D., school music supervisor. 
Address, Rumford, Me. 


Sweatt, Joseph Elmer, teacher of violin; b. 
Westbrook, Me., 1867; s. Joseph S. G. 
and Sarah (Hume) Sweatt; m. Zeruah 
Morton Stewart, March 9, 1893; studied 
at Boston Conservatory (Julius Eich- 
berg), Charles N. Allen and Fritz 
Listemann; mem. of orchestra St. Au- 
gustine and Magnolia Springs, Florida, 
2 seasons; mem. Bar Harbor Orches- 
tras, 5 seasons; Theatre Orchestra, Bos- 
ton. 2 seasons; instructor Colorado 


MUSIC AND MUSICIANS OF MAINE 


School of Fine Arts, Boulder, Col., 1902- 
03; instructor violin Aroostook County, 
Me., 1909-1928. Leader of orchestra, 
Presque Isle Opera House. Res., Ma- 
pleton, Me. 


Sweetser, Mrs. Susan, m.t. Address, 43 


James St., Auburn, Me. 


Sweetser, Virginia C., teacher piano; mem. 


Portland Rossini Club. Address, 650 
Forest Ave., Woodfords, Me. 


Swett, Clyde Irving, violinist, vocalist 


(baritone); b. Bangor, Me., June 24, 
1902; s. George Irving and Lillian M. 
Swett; m. Laura Annette Hewey, Tune 
24, 1922; ed. University of Maine, B.A., 
and McGill University (M.D.C.M.); 
former mem. Columbia St. Baptist 
Church Choir; mem. U. of M. Band 
(French horn), and Bangor Symphony 
Orchestra (viola); mem. U. of M. Mu- 
sical Clubs, American Federation of 
Musicians and Sigma Alpha Epsilon; 
former mem. McGill Choral Society. 
Address, 187 Parkview Ave., Bangor, 
Me 


Sylvain, Marion Haynes, organist, teacher 


of piano; b. Brighton, Mass., Nov. 1, 
1890; d. Charles Frederick and Henri- 
etta Woodman Haynes; m. Ludger A. 
Sylvain, March 20, 1916; studied with 
Miss Parks of Newton, Mass.; mem. 
choir and org. 1st Pr. Church, Gorham; 
mem. Altrurian Club, J. R. Adams Wom- 
an’s Relief Corps, Gorham Grange, 
No. 54, P. of H., Community Club, 
Annie Louise Cary Club and M. E. 
Church; formerly org. at School St. M. 
FE. Church, Gorham; pianist in movies, 
vaudeville and dance orchestras. Ad- 
dress, 82 School St., Gorham, Me. 


Tadder, Delmino, concert master Water- 


ville Symphony Orchestra. Address, Wa- 
terville, Me. 


Tainter, Gilbert Ernest, music dealer; b. 


Portland, Me., Feb. 28, 1881; s. Frank 
E. and Nancy (Drew) Tainter; ed. Ed- 
ward Little High School; Bryant and 
Stratton Bus. Coll.; m. Alice Walker, 
June I, 1904; mem. Martindale Country 
Club, Rotary Club, I. O. O. F., 32nd de-. 
gree Mason. Vocation, business known 
as F. E. Tainter & Co, Inc. Res. 366 
Turner St., Auburn; store, 42 Lisbon 
St., Lewiston, Me. 


Talbot, Alice Brown, teacher piano, or- 


gan; b. East Machias, Me., May 20, 
1860; d. Joseph G. and Hannah H. 
Huntley Brown; m. Samuel H. Talbot, — 
Dec. 4, 1876; ed. East Machias, Boston 


BIOGRAPHICAL SECTION — 1927-1928 461 


and Chicago; studied with Herbert 
Harris, Bb, Jj. Lang, W. S. B. Mathews, 
Stephen Emery, Charles W. Landon, 
Emil Liebling and Dr. Henry Hanchett; 
org. E. Machias Cong. Church; accom- 
panist, Mendelssohn Club, E. Machias, 
Derthic Club, Escanaba, Mich. Address, 
East Machias, Me. 


Talbot, Augusta, concert artist, teacher of 
violin; b. Milton, Mass., March 17, 18096; 
d. Dudley and Mary Elizabeth Talbot; 
ed. Miss Haskell’s School, Boston; stud- 
ied with Lillian Shattuck, Boston; mem. 
Rubinstein Club, Rockland, Me.; mem. 
string quartette, trio and soloist for 
clubs, churches, etc. Address, 16 Cen- 
tral St., Camden, Me. 


Talbot, Clara Scott, teacher of violin and 
viola- pb. Alma, N. B:, Canada, March 1, 
1883; d. Frederick Oscar and Kate 
Waide Talbot; ed. public schools Alma 
ancdesussex, \- b.; Calais; East Machias, 
and at Washington Academy; studied 
violin with Alice U. Burgess, Sussex, 
N. B., David E. Fisher, Portland, Me., 
Charles- J. Boyes, Norfolk, Va., Felix 
Winternitz, Boston, and 1 yr. at N. E. 
Conservatory of Music; first violinist 
Symphony Orchestra, Norfolk, Va., 
1907-8; mem. East Machias Division of 
Chapman Festival Chorus, 1903-7, and 
Machias Chorus, 1911 to 1928; teacher 
of children’s dancing classes, 1902-26. 
Address, Machias, Me. 


Talbot, Mrs. Edward Eager (Effie Ward), 
Wocalists (aito)> b. Machias, Me.: d. 
Silas E. and Lucy Huson Ward; m. 
April 8, 1899; ed. Machias and Farming- 
ton; mem. Congregational Church 
Choir, Machias; mem. Hannah Weston 
Chapter, Ursula Penniman Literary 
Club; Sec. Machias Festival Chorus. 
Summer home, Hadleys Lake. Address. 
Machias, Me. 


Talbot, Effie W., Sec. Machias Festival 
Chorus. Address, Machias, Me. 


Talbot, Frances Lavinia, vocalist; b. Port- 
land, Me., March 17, 1888; d. George T. 
and Lavinia L. Drew; m. Arthur F. Tal- 
bot, July 19, 1916; studied with Eliza- 
beth Brown, Llewellyn Cain; mem. choir 
Elm St. Church, So. Portland, Me.: mem. 
Woman’s Choral Society, Portland, and 
Annie Louise Cary Club, Gorham. Ad- 
dress, Main St., Gorham, Me. 


Talbot, Helen Wilson, vocalist (mezzo- 
soprano); b. Falmouth, Me., June 16, 
1896; d. Edgar N. and Ella L. Wilson: 
m, Bred ©. Talbot, Sept. 28, 1920; e1. 


Westbrook Seminary; studied with 
Howard Clark (piano); Rupert Neily 
(vocal); mem. choir Westbrook Cong. 
Church; Pres. Women’s Choral Society. 
Address, R. D. No. 5, Woodfords, Me. 
Res., West Falmouth, Me. 


Talbot, Kate Dorothea, pianist, accom- 
panist; b. Machiasport, Me.; d. Fred- 
erick O. and Kate Waide Talbot; mem. 
East Machias Branch of Chapman Fes- 
tival Chorus; accompanist for pupil’s 
violin recitals and dancing classes of her 
Sister, Clara’ S: Talbot; 1002-14. Ad- 
dress, Machias, Me. 


Talbot, Lillian M., violinist; b. Portland, 
Me, Feb. 8, 1005; d. George F. and 
Delia Talbot; studied with Catherine 
Patrick; Ist violin and concert master 
Rossini Club Orchestra; mem. Mac- 
Dowell Club, Rossini Club; Brahms 
Trio. Vocation, violin teacher and leader 
of trio. Address, 42 Fairfield St., Port- 
land, Me. 


Talbot, Marion, music teacher; b. East 
Machias, Me., Aug. 4, 1882; d. James R. 
and Elizabeth B. Talbot; ed. Washing- 
ton Academy and Wellesley College; 
studied at New England Conservatory 
of Music, Boston; mem. choir East Ma- 
chias Cong. Church; former mem. Wel- 
lesley Glee Club and choir. Address, E. 
Machias, Me. 


Talbot, Pearl F., school music supervisor. 
Address, Bethel, Me. 


Tarling, Mrs. Gertrude D., vocalist; mem. 
Portland Rossini Club. Address, 91 Els- 
mere Ave., So. Portland, Me. 


Taylor, Albert B., Vice Pres. Portland 
Festival Chorus. Address, 30a Preble 
St., Portland, Me. 


Taylor, Eleanor Fuller, vocalist (sopra- 
no); .b. China: Me., 1004; d. Ernest O. 
and Susie Taylor; ed. Maine Central 
Inst. and Colby College; studied with 
Carrie M. Bradford and others; mem. 
Court St. Baptist Church Choir, Houl- 
ton, YoeW eC. Awand.Chi. Omeéga- Fra- 
ternity; adviser of Girl Reserves Dept. 
of Y. W. C. A. in Ricker Classical Inst.: 
mem. Pittsfield Festival Chorus, and 
Woman’s Glee Club, Colby Coll.; mem. 
Houlton Music Club. Vocation, instruc- 
tor of mathematics. Address, Ricker 
Classical Institute, Houlton, Me. 


Testa, Angelo M., band and orchestra in- 
structor and school children’s orchestra 
promoter; b. Frigento, Italy, May 6, 
1875; s Philip and Isabella Testa; m. 


462 


Theis, Ernest, vocalist; mem. 


Edna H. Blackmore, 1902; ed. Italy and 
Boston, Mass.; studied with Prof. A. G. 
Adams of San Pietro a Maiello, Italy; 
mem. Royal Orchestra, Auburn; Supt. 
Portland Academy of Music, Auburn; 
instruments, mandolin, guitar, violin and 
cornet, one of the pioneers in this coun- 
try in class work, especially on violins. 
Address, 154 Central Ave., Lewiston, 
Me. Mail address, 72 Main St., Auburn, 
Me. 

Tetley, Mrs. Josie May, teacher of piano; 
b. Orr’s Island, Me.; d. William H. and 
Sarah Doughty Linscott; m. Rev. E. B. 
Tetley. Oct. 3, 1900; studied with Her- 
mann Kotzschmar; mem. choir Baptist 
Church; mem. Euterpean Club. Ad- 
dress, 101 High St., So. Paris, Me. 


Tewksbury, Helena M., pianist, organist; 
b. Bangor, Me.; d. Joseph F. and Annie 
Foster Tewksbury: studied piano with 
Clara F. Joy, Bangor, and Mrs Philip 
Hale, Boston; organ with Mrs. E. L. 
Howes, Bangor. and Henry M. Dun- 
ham, Boston; org. Essex St. Baptist 
Church, Bangor; mem. Festival Chorus 
since its beginning and one of the older 
members of the Schumann Club; one of 
the organizers and mem. of the Music 
Study Club. Address, 329 Union St., 
Bangor, Me. 

Thaxter, Joseph W., vocalist (tenor); | 
Portland, Me., ue 18, 1856; s. Martin 
W. and Sarah E. Thaxter; m. Emma L. 
Knight, Jan. I1, 187 6; ed. public schools, 
Portland, Me.; studied with Julia Ward 
and John Morgan; mem. Friend’s 
Church and First Baptist Church 
Choirs; mem. So. Portland Glee Club 
and mem. Festival Chorus for 29 yrs. 
Address, 15 Shepley St., Portland, Me. 


Warren 
Male Quartette. Address, Westbrook, 


Me. 


Theis, Marion Eugene, vocalist (contral- 


to), teacher of piano; b. Standish, Me., 
July 10, 1892; d. Charles W. and Nettie 
J. Wentworth; m. Ernest Theis, Oct. 1, 
1912; studied in Portland and Boston; 
organized first chorus and orchestra in 
Westbrook High School; dir. Chopin 
Club Chorus, Westbrook; dir. Rossini 
Club Chorus, Portland; dir. evening 
musical programs Warren Cong. Church, 
Westbrook; mem. Verdi Concert Trio, 
1915-18; Sec. Me. Fed. of Music Clubs; 
Chairman of Music Dept., State Fed. of 
Women’s Clubs; Past Pres. Ammon- 
congin Literary Club, Westbrook; mez- 


MUSIC AND ‘MUSICIANS 


Thomas, 


Thompson, Mrs. 


OF MAINE 


zo contralto in newly organized Rossini 
Vocal Trio engaged in concert work. 
Vocation, musician. Address, Cumber- 
land Mills, Me. 


Thibault, Alice, m.t. Address, 128 Fifth 


St., Auburn, Me. 


Thibodeau, Antoinette, teacher of piano, 


concert artist; b. Old Town, Me., : 
24, 1900; d. Joseph and Lydia C. Thibo- 
deau; ed. St. Joseph’s Academy, Deer- 
ing; studied with Prof. Clark Borgo and 
C. Winfield Richmond; org. St. Joseph’s 
Church, Old Town. Me. Address, 77 
Bosworth St., Old Town, Me. 


Thieme, Berthold W., music director (vio-— 


lin, cornet); b. Zachan, Pomrania, Ger- 
many, March 11, 1849; s. Ludwig and 
Albertina (Hanson) Thieme; m. Anna 
M. Berger, Oct. 18, 1873; ed. Von Un- 
rech’s Music School and the Arnswolde 
Music Academy, Pomrania; bandmaster 
National Home, Togus, Me., for more 
than 44 yrs.; mem. Masons, K. of T. 
Harugari Diony’s Lodge; composer. 
marches, waltzes, light military and or- 
chestra music; solo cornettist 71st Reg. 
Band, N. Ye City.” Addtessenisox iia: 
National Home, Togus, Me. 


Thomas, Clara, soloist (mezzo contralto). 


Address, Rockland, Me. 


John P., vocalist (baritone); 
mem. Portland Men’s Singing Club. Ad- 
dress, 171 Danforth St., Portland, Me. 


Thomas, Ruth Ella, concert pianist and 


teacher; b. Beachmont, Mass., Nov. 23, 
1899; d. Frank H. and La Vaughn L. 
Thomas; studied with Alfred De Voto; 


grad. N. E. Conservatory of Music; for- 


mer teacher of music in Camden and 
Rockland public schools; at Am. Insti- 
tute of Normal Methods, Lasell Semi- 
nary, Auburndale, Mass.; composer “Im- 
provisation,” “A Story,” “Waltz,” “Mer- 
maid’s Song’; mem. Rubinstein Club, 
Rockland, Me. Vocation, supervisor of 
music in Saco public schools. Address, 
2t Pearl St., Camden, Me. Mail address, 
326 Main St., Saco, Me. 


Thomes, Frank E., vocalist (tenor); mem. 


Portland Men’s Singing Club. Address, 
8 Homestead Ave., So. Portland, Me. 


Thompson, Dorcthy K., teacher of piano; | 


org. Church of Messiah. Address, 75 
Pine St., So. Portland, Me. 


Joseph P., honorary a 
mem. Portland Rossini Club. Address, — 
Orchard St., Portland, Me. 


BIOGRAPHICAL SECTION—1927-1928 463 


Thompson, Mrs. Luther, Vice Pres. Bath 
Festival Chorus. Address, Bath, Me. 


Thompson, Sinclair A., teacher of music; 


b. Oct. 15, 1876; s. William and Annie 
Orr Thompson; m. Sara Mae Jones, 
Oct. I, 1907; mem. Old Brunswick Band 
(cornet); mem. Kotzschmar Club, 
Woodfords Club, Deering Lodge, Ma- 
Sone wort aul Chapter, Council, etc.; 
composer several courses for fretted in- 
struments; about 65 compositions for 
solos and 20 for orchestras. Vocation, 
dir. Thompson’s School of Music and 
mgr. Eastern Musical Supply Co. Busi- 
ness address, Libby Memorial Bldg. Res., 
89 Fleetwood St., Portland, Me. 


Thompson, Mrs. S. S., vocalist ; mem. Wom- 
en’s Choral Society and MacDowell Club. 
Address, Portland, Me. 


Thorne, Gertrude, teacher of music; b. 


Plymouth, Me.; d. Henry S. and AIl- 
berta Small Thorne: ed. Maine Central 
Institute and N. E. Conservatory: stud- 
ied piano with James W. Hill, Haverhill. 
Mass., and with Carl Stasny at Conserv- 
atory; theory with Louis C. Elson; 
harmony with Benjamin Cutter; voice 
with Frank E. Morse; trained at Insti- 
tute of Music Pedagogy. Northampton. 
Mass., with Ralph Baldwin for public 
school music; studied band work and 
voice at Eastman School of Music, 
Rochester, N. Y.; taught school music 
at Corinna, Newport and Plymouth. 
Vocation, supervisor of music at Au- 
gusta, Me. Home address, Pittsfield, 
Me. 


Thurston, Florence, music teacher. Ad- 
dress, Union, Me. 


Thurston, Teresa Tuck, accompanist and 


teacher of piano: b. Bangor, Me., Nov. 
21, 1893; d. Frank Linden and Elizabeth 
Tuck; m. L. Raymond Thurston, June 28, 
1919; studied with Carl Faelten, Rein- 
hold Faelten at Faelten Pianoforte School, 
Boston, Mass.; Sec. Bach Choir; mem. 
Parent Teachers Asso. and “Quipus”; 
former mem. Schumann Club and Bangor 
Festival Chorus. Address, 251 Nowell 
Road, Bangor, Me. 


Tibbetts, George A., vocalist (tenor); 
mem. Portland Men’s Singing Club. 


Address, 521 Cumberland Ave., Port- 
land, Me. 


Tibbetts, Grace, harpist; mem. MacDow- 
ell Club and Portland Municipal Or- 
chestra. Address, 85 Deerfield Rd., 
Portland, Me. 


Tibbetts, Mrs. Samuel (Virginia Haven- 


er), vocalist (contralto), teacher of vio- 
lin, cello and piano; b. Rockland, Me.; 
d. Charles E. and Orissa M. Havener; 
m. Dr. Samuel Tibbetts, 1907; studied 
with H. E. Holt and at N. E. Conserva- 
tory and Normal Institute of Vocal 
Harmony, Lexington, Mass.; mem. 
Knox-'Valdo School Music Asso. Vo- 
cation, supervisor of music in public 
ae Address, 33a Elm St., Camden, 
Me. 


Titcomb, Walter John, vocalist (bass); b. 


Farmington, Me., March 7, 1859; s. 
John and Catherine Merrill Titcomb; 
m. Charlotta E. G. Cook, July, 1894; ed. 
Normal School, Farmington; studied 
with H. E. Holt, John W. Tufts and E. 
W. Newton, Boston; grad. Am. Insti- 
tute of Normal Methods; mem. Fall 
River Orchestral Club and Wheeler’s 
Band in the 80’s (slide trombone); mem. 
New England Music Festival Asso and 
the Eastern Music Supervisors Confer- 
ence. Vocation, supervisor of music in 
public schools. Res., 42 Chaloner St., 
Fall River, Mass. 


Tclman, Carl Jean, pianist, organist, com- 


poser, instructor, conductor; b. Harri- 
son, Me., March 22;°:1875:. 9. Charles 
Elliot and Martha Osgood Richardson 
Tolman; m. Charlotte E. Bailey, Tuly 
22, 1907; ed. pub. and high schs., private 
teachers; studied with Harvey S. Mur- 
ray, Cora S. Briggs; Lyman F.. Brack- 
ett; Carl Stasny; Carl oBaermann, H. A, 
Clarke and others; has taught music 35 
yrs.; coach for vocalists, 10 yrs.; associ- 
ate ‘air. |udson Coll Alabama, Uo yr: 
elected dir. following yr.; dir. of mus. 
Coker Coll5 So. Garalina;.6. yrs ore. 
Perkins St. Bapt., Somerville, Mass., 
High St. Cong., Auburn, Me., Friends 
Church, Winthrop Center, Me., Bapt. 
Ch., Hartsville, S. C.; directed choruses, 
glee clubs, choirs, bands, orchestras; or- 
ganized and dir. Coker Coll. Choral Art 
Society (100 voices); has given organ 
and piano recitals since 1893; comp. for 
piano (orchestrated and played at Bos- 
ton Symphony “Pop” concerts), pipe- 
organ pieces, songs and anthems; col- 
league Am. Guild of Organists, N. Y. 
Chapter; sub-dean and examiner Caro- 
lina Chapter, Am. Guild Org.; mem. 
Nat. Am. Organists; dir. of mus. Co- 
burn Classical Institute, Waterville, 


_Me.; org. for E. A. Bailey, Winthrop 


Center, Me. Studio, Augusta, Me. Ad- 
dress, Winthrop Center, Me. 


464 


Tolman, Charles H., flutist; b. Portland, 
Me., Feb. 10, 1864; s. Charles C. and 
Mary Ilsley Tolman; m. Jennie M. 
Sampscn, March 2, 1892; former mem. 
A. W. Coombs Chamber Music Club 


and Portland Philharmonic Society; 


mem. Kotzschmar Club, Portland Flut- 
ist’s Society and Portland Municipal 
Orchestra. Res., 260 Vaughan St., Port- 
land. 


Torrens, Dr. Lemuel Allen, choral con- 
ductor and teacher of singing; b. Ban- 
gor, Me.; s. John and Ellen Torrens; 
began study of music at very early age; 
first instructor of music public schools 
of Bangor; for many years directed mu- 
sic festivals in East and West; dean of 
the vocal faculty of the Cosmopolitan 
School of Music and Dramatic Art, Chi- 
cago; dean of vocal departments, Mas- 
ter’s School, Dobbs Ferry on Hudson; 
instructor of vocal music in Riverdale 
School, Riverdale - on - Hudson, Dalton 
High School, N. Y. City, and privately 
in Chickering Building, N. Y. Address, 
26 Gramercy Park, N. Y. 


Torrey, George, Vice Pres. Rockland Fes- 


tival Chorus. Address, Rockland, Me. 


Toussaint, Mrs. O. J., music teacher. Ad- 


dress, East Millinocket, Me. 


Towers, Mrs. Daisy S., vocalist; b. Somer- 


ville, Mass., Aug. 7, 1888; d. John D. 
and Elizabeth Powe Stairs; m. Cleve- 
land W. Towers, Nov., 1910; ed. Houl- 
ton, Me.; studied with Mrs. Hollis Lind- 
say and Prof. Sodequest; mem. choir 
Military St. United Baptist Church, 
Houlton, Me.; Pres. Houlton Music 
Club and third Vice Pres. of the Maine 
Federation of Music Clubs; mem. Houl- 
ton Women’s Club, Portia Rebekah 
Lodge, No. 76, and Fidelity Chapter, 
No. 32, O. E. S. Address, 10 Heywood 
St., Houlton, Me. 


Towle, Blanche, vocalist (mezzo soprano), 


teacher of singing; b. Lewiston, Me.; ed. 
public schools; studied voice with W. H. 
Dennett, Portland, Rose Stewart, Bos- 
ton, 4 yrs. in New York and 1 yr. in Eu- 
rope; sang with the Boston Festival 
Orchestra; composer of quintette “Peace” 
for voice and stringed instruments; for- 
merly sang at Hammond St. Cong. 
Church, Lewiston. Studio address, 175 
Hemenway St., Boston, Mass. 


Towne, Eva M., state music supervisor. 


Address, Waterville, Me. 


Tracy, Alfred H., vocalist (baritone); 


MUSIC AND’ MUSICIANS OF MATS 


mem. Portland Men’s Singing Club. 
Address, 39 North St., Portland, Me. 


Tracy, M. Irene, teacher of piano; b. Min- 


neapolis, Minn., Dec. 26, 1883; d. Eph- 
raim and Julie West King; ed. Minne- 
apolis School of Music; studied with 
Maurice Eisner and Magendanz of 


Utica Conservatory, Edwin Klahre of 3 


New England Conservatory and Prof. 
Clarence G. Hamilton; received teacher’s 
certificate in piano teaching, harmony 


music form and interpretation; in 192r 


took master’s course at Chicago Musical 
College and studied with Rudolf Ganz; 
also studied with Prof. Adelbert W. 
Sprague of the University of Maine. 
Address, 148 Essex St., Bangor, Me. 


Trafton, Edwin, violinist; b. Portland, a 


Me., Jan. 23, 1912; s. Ernest E. and 
Agnes M. Trafton; ed. New York and 
Auburn; studied with Prof. Josafa 


Morin; mem. Lewiston-Auburn Sym-— i 


Webster 
Address, 


phony Orchestra; leader, 
School Orchestra, Auburn. 
9 Sheridan Ave., Auburn, Me. 


Trafton, Howard M., pianist; b. Portland, 


Me., Jan. 23, 1912; s. Ernest E: and 
Agnes M. Trafton; ed. New York and 
Auburn; studied with Prof. Arthur N. 
Pettengill and Prof. Emile Beauparlent; 
mem. L.-A. local orchestras. Address, 
9 Sheridan Ave., Auburn, Me. 


Tremblay, Wilfred, pianist, organist; b. 


Galeton, Penn., July 25, 1905; s. Wil- 
liam R. and Marie Euler Tremblay; 
studied with Seldon T. Crafts, Lewis- 
ton, and Albert Anger, Auburn; Con- — 
ductor Lewiston-Auburn Symphony Or- — 
chestra, 1923-25; made concert tour of 
Canada, 1925; composer “My High 
School Days,” “British Rhapsody,” and 
musical comedy, ‘Royalty Flushed’; — 
org. Empire Theatre. Res., 112 Park | 
Ave., Portland, Me. : 


Treworgy, Anne Florence, pianist, accom- 


panist; b. Penobscot, Me.; d. Solomon 
J. and Ida Wardwell Treworgy; ed. 
Colby College; studied with Mrs. Clar- 
ence White, Waterville (piano), and 
Mrs. Grace Bramhall Howes, Bangor 
(pipe organ); org. Cong. Church, Water- 
ville, 3 yrs., United Baptist Church, 
Milo, 6 yrs.; composer, two high school 
songs, ““M. H. S. Forever,” “Milo Chéer- — 
ing Song” and several songs for Rotary 
Club; music for many other songs for 


special occasions; acc. musical produc- 


tions, singers, violinists, etc. Vocation, 
high school teacher. Address, 12 Clin- 


BIOGRAPHICAL SECTION— 1927-1928 


ton St., Milo, Me. 
Me. 

Trickey, Edith C., pianist; priv. mem. 
Portland Rossini Club. Address, 70 
Thomas St., Portland, Me. 


Trickey, Mrs. Henry S., associate mem. 
Portland Rossini Club. Address, 70 
Thomas St., Portland, Me. 


True, Mrs. Jabez (Ella W.), violinist; b. 
Portland, Me., 1868; d. Samuel and 
Mary (Waters) Thurston; m. Jabez 
True, 1899; studied with Julius Eich- 
bere. Charlies N. Allen; Sec-Treas. 
Marston Club. Address, 34 Farwell 
Ave., Melrose Highlands, Mass. 


True, Latham, organist, music teacher; b. 
Portland, Me., June 1, 1874; s. Jabez 
and Nettie A. (Latham) True; m. Edna 
Webb, Jan., 1909; grad. Toronto Coll.; 
Mus.B. degree Univ. Toronto; Mus.D. 
degree N. Y. German Cons.; studied 
with Kotzschmar, Marston, Torrington, 
Fairclough, Krause, and Prout; associ- 
ate Royal College of Organists, Lon- 
don; fellow Am. Guild of Organists; 
org. and choir dir. First Parish Church, 
Portland, 9 yrs.; organizer Kotzschmar 
Club, Portland; mem. Beethoven Trio, 
1914-21; organized Chamber Music 
Trio; asso. editor “The American Or- 
ganist of N. Y.’’; composer; organist 
and dean of music dept. Castilleja 
School, since 1923. Address, Palo Alto, 
California. 


True, Mrs. Latham, formerly soloist First 
Parish Church, Portland. Address, Palo 
Alto, California. 


True, Luella C., vocalist (soprano); b. 
Portland, Me., Nov. 5, 1867; d. William 
P. and Sarah Cole Evans; m. Ernest 
True, June 1, 1890; studied with Mrs. 
O. H. Fellows, W. H. Dennett, and at 
N. E. Conservatory with W. H. Daniels; 
mem. First Parish and Williston Church 
Choirs; org. Stevens Ave. Cong. and 
Christian Science; now org. at Little 
Neck, L. I., N. Y.; mem. Rossini Club 
and President Marston Club for 2 yrs. 
Vocation, music teacher. Res., 1550 For- 
est Ave., Portland, Me. Mail address, 
4308 Marathon Parkway, Little Neck, 
L. I., New York. 

True, Mrs. Maude E., m.t. Address, Lee 
Me. 

True, Willis E., cornettist; mem. Deane’s 
Orchestral Club. Address, 358 Wood- 
ford St., Portland, Me. 


Tuck, Elizabeth, teacher of piano and or- 


Summer St., Surry, 


46 


MRS. JOHN HUPPER TURNER, CONTRALTO. 


gan; b. Minaville, New York, Dec. 25. 
1864; d. Asa B. and Elizabeth (Koons) 
Peck; m. Frank L. Tuck, March 3, 1889; 
ed. at Faelten Pianoforte School, Bos- 
ton; studied with Mr. and Mrs. William 
Sherwood; has been an organist for 20 
yrs.; organizer of the Schumann Club 
and Pres. for 15 yrs.; in 1925 organized 
the Bach Choir in Bangor and in April, 
1927, presented Bach’s “St. Matthew 
Passion” in St. John’s Episcopal Church. 
Summer home, Islesboro, Me. Address, 
27 Grant St., Bangor, Me. 


eae Olalie, m.t. Address, Brownville, 
e. 


Tufts, George Royal, trombonist; b. Lew- 
iston, Me., Aug. 9, 1896; s. George Wil- 
liam and Sadie (Washburn) Tufts; ed. 
Frye Grammar School, Lewiston; stud- 
ied with Ernest J. Hill; mem. Hobbs 
American Band and a member of Hobbs- 
Curtis Orchestra, Lewiston; mem. Mu- 
sicians Protective Union. Address, 136 
Nichols St., Lewiston, Me. 


Turner, Gretchen M., vocalist; b. Houlton, 
Me., Dec. 8, 1905; d. John and Gertrude 
A. Turner; ed. Aroostook State Normal 


School; studied with Mary Burpee, 
Houlton, Me.; mem. United Baptist 
Church Choir, Houlton Music Club. 


Vocation, teacher public schools. Ad- 
dress, 55 Franklin Ave., Houlton, Me. 


») 


466 


i 

Turner, Inez Perry, soloist, concert artist 
(mezzo contralto); b. Portland, Me., 
July 19, 1881; d. Albert E. and Alma A. 
Perry; m. John Hupper Turner, 1901; 
ed. Portland, Me.; studied with Nettie 
Fellows, Henrietta D. Rice, Clara Tip- 
pett, and Regneas of N. Y.; formerly 
mem. choir at St. Lawrence Cong., War- 
ren Cong., First Baptist, State St. Cong., 
Pine St. Methodist and Williston Cong. 
Churches; mem. Rossini Club; instiga- 
tor of publicity committee and first 
chairman; vocal teacher. Res., 38 Ves- 
per St,Portiand,. Me. 


Tuttle, Ralph Hodsdon, instrumentalist 
(tuba, bass viol); b. Auburn, Me., Jan. 
22, 1809; s. Harry C2 and- Mabel A. 
Tuttle; m. Florine I. Maher, Oct. 16, 
1921; studied with Arthur Croteau, C. 
M. Plummer and Maurice Wade; Treas. 
Lewiston Brigade Band; mem. Marble’s 
Orchestra; Treas. Musicians Protective 
Ass'n, Local 409, Lewiston, I. O. O. F. 
Lodge, Raboni Lodge, A. F. of M., 32nd 
degree Mason, Mystic Shrine, Lewiston 
Lodge; -B: “Ps QO. °E. = Vocation,< Asst: 
Treas. Lewiston Trust Co.; Pres. Bell 
Tire Co., Inc. Address, 12 Bardwell St., 
Lewiston, Me. 


Usher. Ethel Watson, concert accompan- 
ist, organist; b. Gorham, Me.; d. William 
H, and Ella Watson Usher; ed. Portland, 
Me.; studied with Mary Jordan, Hein- 
rich Gebhard, Leopold Godowsky, Frank 
La Forge, Walter Henry Rothwell; org. 
and dir. of music, Harlem Presbyterian 
Church, N. Y.; formerly org. United 
Cong. Church, and Reformed Church, 
Brooklyn; mem. American Woman’s As- 
so. and Maine Women’s Society of N. Y., 
Quota Club, International, Inc.; conduc- 
tor Matinata Choral Club, N. Y.; com- 
poser, vocal coach. Address, 127 West 
VOUlaty ny 


Vallée, Hubert Prior, orchestra leader, 
saxophonist; b. Island Pond, Vermont; 
s. Charles A. and Katherine A. Valée; 
ed. Yale College; mem. Westbrook City 
Band; featured at the Savoy, London, 
England, nightly for one year; recorded 
for English Victor and Columbia records; 
featured with Bolton and Cipriano’s Or- 
chestra and later became leader; soloist 
with the Yale Collegians in their trans- 
continental vaudeville tour across the 
United States. Address, 36 Munroe Ave., 
Westbrook, Me. 


Vallée, Kathleen M., pianist; b. Island 
Pond, Vt.; d. Charles A. and Katherine 


MUSIC AND MUSICIANS OF MAINE 


A. Vallée; ed. Westbrook High School 
and Montreal; studied with Aaussault; 
graduate Institute of Paris: pianist Cho- 
pin Trio and Chopin Club, Westbrook. 
Vocation, teacher of piano. Address, 36 
Munroe Ave., Westbrook, Me. 


Vannah, Kate, organist, accompanist, 
journalist, poet; b. Gardiner, Me.; d. 
Isaac and Eliza Vannah; Doctor of Mu- 
sic degree at Joseph’s College, Em- 
mettsburg, Md.; studied piano with Er- 
nest Perabo; composition with Prof. 


Eversmann of Baltimore and George W. — 
Marston, Portland; has written many — 
concert songs; her first song, “Goodbye 


Sweet Day,” published 1893, and “Cradle 


Song,” pub. about that time, are among 


the most popular; has composed many 
small pieces for orchestra, as well as 
songs and instrumental numbers; au- 
thor of magazine verse and articles; 
collaborated with Elinore C. Bartlett in 


writing opera, “Heligoland”’; her com- 


positions have been sung and played by 


almost every artist of prominence; 


among her other best known songs are 
“Eily,” “I Know the Place Where We 
Will Rest,” “Ave Maria,” “When Love 
Comes Knocking at the Gate,” “Come 


Back to Me,” “The Dream Within Your — 


Eyes,” “Will You “Hear.” ihe (ae 


Long Day,” “Mary O,” and “Master, 


Saviour, Make Me Thine.” Address, 
Hotel Earle, Washington Square, New 
York. 


Vanni, Roberto, m.t. Address, 129 Lisbon | 


St., Lewiston, Me. 


Veazie, Mrs. Katherine, vocalist (sopra- 
no). Address, Rockland, Me. 


Vermette, Geoffrey Thomas, vocalist (ten- 


or); b. Brunswick, Me., July 13, 1888; s. 
Charles and Albina Ouellette Vermette; 


m. Sophie LaBerge, May 10, 1913; stud- — 


ied with Prof. Roberto Vanni; mem. 
choir St. John’s Church and Brunswick 
Orchestral Society. Vocation, railroad- 
ing. Address, 22 Columbia St., Bruns- 
wick; Me. 
Vinal, Ernest L., concert artist, bands- 
man; b. Vinalhaven, Me.; s. Woster and 
Harriet Arey Vinal; studied with Felix 
Fox and Clement Lenom of Boston; 


mem. Alippo Shrine Band, Boston (clar- 
inet, oboe, English horn); mem. Boston 


Se eS a LE a ee ee ee ee Pee ee ae ee ee eee ee ee ee eee 


a a 


—— S. 


Pe eee he 


wre 


Ver a) ee. 


Musicians Asso., Alippo Shrine, Bos- — 


ton, and De Valois Commandery, Vinal- 
haven, Me.; formerly mem. Phinney’s 
Band, Duss Band and Soldier’s Home 
Band, also People’s Symphony Orches- 


i a —— : one Pe ee a a eS ae are 
a ee ee a eee Oe ee ee ok Cen aes ee 


BIOGRAPHICAL SECTION— 1927-1928 467 


tra, Boston, and many other orchestras. 
Vocation, insurance. Address, 158 W. 
Brookline St., Boston, Mass. 


Virgie, Belle A., m.t., school music super- 


visor. Address, Orono, Me. 


Waddell, Ivah Woodbury, teacher of 


piano; b. Patten, Me., March 10, 1879; 
d. Benjamin Collins and Albina Knowles 
Woodbury; m. Edward I. Waddell, 
Sept. 1, 1910; ed. Patten Academy; stud- 
ied with George Folsom Granberry, N. 
Y., Carl and Reinhold Faelten and 
Marie Dewing Faelten of the Faelten 
Pianoforte School, Boston, Mass.; org. 
Unitarian Church; mem. Clef Club. Ad- 
dress, 137 State St., Presque Isle, Me. 


Wade, John Maurice, instrumentalist (con- 
tra bass, cello); b. Farmington, Me.; 
s. Lewis T. and Mittie Titcomb Wade; 
m. Ola Wade, 1910; ed. N. E. Conserv- 
atory; studied contra bass with Ger- 
ald Whitman, Portsmouth, and Max 
O’Kunze; cello with Ernest Boothman, 
Boston, Robert N. Austin, Providence, 
and Carl Stockbridge, of the Boston 
Symphony; played with many hotel 
concert orchestras, theatre orchestras 
and bands. Vocation, musician, piano 
tuner. Address, 148 Washburn Ave., 
Portland, Me. 

Wade, Mrs. Lewis T. (Mittie T.), super- 
visor of music in public schools; b. Far- 
mington, Me., Sept. 27, 1852; d. John 
and Catherine Merrill Titcomb; m. 
Lewis T. Wade, Nov. 27, 1878; ed. Wen- 
dell Institute and 1 yr. at Vassar; stud- 
ied with local teachers and L. T. Wade; 
org. 30 yrs. Cong. Church, Farmington. 
Address, Farmington, Me. 


Wakefield, Edwin C., bandmaster (cor- 


net), vocalist (bass); b. Steuben, Me., 
July 16, 1841; s. George W. and Susan 
Campbell Wakefield; m. Hattie S. Win- 
gate; studied with his father and R. B. 
Hall, Bangor, Frank Collins, Boston, 
William Parks, 2nd Maine Band, and 
Chandler of Portland; leader of the 
Cherryfield Band sincé its organization, 
1869. Vocation, machinist. Address, 
Cherryfield, Me. 


Walker, Leon V., trombonist; mem. 
Deane’s Orchestral Club. Address, 3 
Walker St., Portland, Me. 


Walker, Marion J., organist, vocalist (so- 
prano); b. Portland, Me.; d. Alphonzo 
C. and Abba E. (Knight) Jones; m. 
Walter W. Walker, Sept. 26, 1900; ed. 
So. Paris High School; studied piano 


with Cora S. Briggs; voice with Cora 
Pike and Minnie A. Plummer; organ, 
Minnie A. Plummer; harmony, Frank 
L. Rankin; org. and dir. Norway Univ. 
Church, 76 yrs, Woodfords Cong. 
Church, 21 yrs., Friends Church; mem. 
So. Paris Cong. Church Choir; soloist 
and mem. Ladies Quartet, So. Paris, 
Me.; mem. Rossini Club, Portland, Mu- 
sic Appreciation Class, Woodfords; 
Presi Seneca’ Club, ¥So.. Paris.) Vice 
Pres. Organist Guild, Portland, Me.; 
Pres. Pilgrim Vested Choir, Woodfords 
Cong. Church; Pres. Mentone Club. 
Portland. Vocation, organist, accom- 
panist, teacher of piano and organ. Ad- 
dress, 174 Glenwood Ave, Portland, Me. 


Walker, Sophia, m.t. Address, Ellsworth, 
M 


e. 
Walker, Walter W., vocalist (bass); b. 


Harrison, Me.; s. Charles Lincoln and 
Sarah Harmon Walker; m. Marion W. 
Jones, Sept. 26, 1900; ed. No. Bridgton 
Academy; studied with Wm. Stock- 
bridge; soloist Norway Univ. and mem. 
Woodfords Cong. Church Choir, So. 
Paris Cong. Church Choir, Parisian 
Male Quartette, So. Paris. Address, 174 
Glenwood Ave., Portland, Me. 


Wall, Harry T., mem. Portland Flutist’s 


Society. Address, 497 Cumberland Ave., 
Portland, Me. 


Wallace, Mrs. E. L., vocalist ; mem. Wom- 


en’s Choral Society. Address, 128 Brent- 
wood St., Portland, Me. 


Wallace, Stanley Chester, organist; b. 


New (York City, “N. Y., May -24,..1895; 
s. Stanley Chester and Charlotte Mary 
Wallace: m. Halcyon Voigt, Feb. 6, 
1922; ed. University of Pennsylvania; 
studied with Charles Galloway, Ottmar 
Moll, Arthur Dunham and Guilmaunt 
Organ School, N. Y.; Bandmaster, U. 
S. N., 1917-18; mem. Masonic Order 
and Shrine; organist Strand Theatre, 
Portland. Address, Congress Square 
Hotel, Portland, Me. 


Walsh, Margaret E., m.t. Address, 31 


Harlow St., Bangor, Me. 


Walsh, Ruth E. Pettengill, evangelistic 


singer; b. Leeds, Me., Dec. 23, 1876; d. 
Rev. W. R. and Fannie Libby Petten- 
gill; m. Rev. A. A. Walsh, Sept. 23, 1902; 
ed. Bates College; studied with Prof. 
Pettengill and Prof. Robinson; soloist 
and choir leader at evangelistic meet- 
ings; supervisor and teacher in Leeds 
pub. schools, 6 yrs.; State mus. dir. of 
Maine W. C. T. U. since 1919; mus. 


468 MUSIC AND MUSICIANS OF MAINE 


supervisor in schools of Waterboro; bus. 
manager, Ladies’ Glee Club, Bates Col- 
lege, 1900-1; cond. mus. many Maine 
camp meetings and at clubs and conven- 
tions. Address, Waterboro, Me. 


Walton, Isabel Roberts, vocal teacher; b. 
Portland, Me., Oct. 26, 1891; d. Dr. Wal- 
ter H. and Lillian Osgood Roberts; m. 
Edward Walton, July 4, 1910; studied 
with Lewellyn B. Cain, Mrs. Franklyn 
P. Clark and Miss Schumacher; soloist 
Christian Science Church, Lewiston- 
Auburn, United Baptist Church, Lewis- 
ton; mem. choir United Baptist Church, 
Auburn; mem. Philharmonic Club. Res., 
18 White St., Lewiston, Me. 


Ward, Helen, vocalist (soprano); mem. 
MacDowell Club, Portland Polyphonic 
Society and Portland Rossini Club. Ad- 
dress, 108 Winter St., Portland, Me. 


Ward, Helen McKearney, pianist and 
vocalist (contralto); b. Yarmouth, Me., 
Oct. 23, 1893; d. Joseph and Elizabeth 
Slattery McKearney; m. Bernard M. 
Ward, Oct. 15, 1917; ed. N. E. Conserv- 
atory; studied piano with Alfred Brink- 
ler, Portland, and Carl Stasny, Boston; 
voice with A. R. Frank, Portland, and 
Arthur Hubbard, Boston; mem. Rossini 
Club, Portland; org. Sacred Heart. Ad- 
dress, 8 Hillside St., Yarmouthville, Me. 


Ward, Mary Belle, organist, pianist; b. 
Brunswick, Me.; d. William F. and 
Hannah M. Ward; studied with Harvey 
Murray and Columbia Conservatory, 
Brooklyn, N. Y.; org and mem. orches- 
tra, Berean Baptist Church; org. First 
Parish Cong.; former mem. Mozart 
Club; mem. and accompanist, Festival 
Chorus during its existence. Address, 
4 Dunning St., Brunswick, Me. 


Ware, Eve E., m.t. Address, Union, Me. 


Warner, Mrs. R. C., mt. Address, 214 
Broadway, Bangor, Me. 


Warren, Belle Jordan (Mrs. Charles A.), 
supervisor of music, pub. schools. 
Brunswick, Me. 


Warren, Charles A., teacher of violin; b. 
Portland, Me.; s. True and Ellen P. 
(Noyes) Warren; m. Eva Belle Jordan; 
director of Brunswick Orchestral Soci- 
ety; instructor of instrumental music in 
the Brunswick schools; orchestral ex- 
perience covers range from vaudeville 
to grand opera; played in leading 
theatres of Boston for 15 yrs.; former 
member Bostonia Sextette which an- 
nually toured country for years; ed. N. 


E. Conservatory of Music; studied vio- — 
lin with Emil Mollenhauer, Henry 


Heindl and Felix Winternitz; harmony, — 


counterpoint, etc, with J. K. Leavitt — 


and Gustav Strube. Address, 5 Stetson — 


St., Brunswick, Me. 


Warren, Mrs. Ellen R., m.t. Address, — 


Woolwich, Me. 


Warren, Leon Hugh, teacher banjo and — 
harmony, violinist; b. Augusta, Me, 


April 16, 1903; s. Harry L. and Agnes ~ 
Chaffin Warren; studied with Frank P. 
Burnham; mem. The Yale Collegians, — 
Phi Delta Theta, Alpha Kappa Kappa, — 
Kappa Phi Kappa, Pi Gamma Mu, Elks, ~ 


Masons, A. F. of M.; former mem. — 


Chubb-Steinberg Orch. (broadcasting — 
W.L.W.), Old Orchard Pier Orch.; 
mgr. Lee Warren’s Collegians; medical | 
student, Yale University. Address, 19 — 
Cottage St., Portland, Me. 


Warren, Nell, vocalist (lyric soprano); b. "4 


Portland, Me., April 20, 1808; d. George _ 
Siggins and Jennie Payson Jones Heal; — 
m. Thomas Warren, Jr., March 9, 1917; i. 


ed. Portland, Me., Bates College, and 
Framingham Normal School; mem. 
Church of Messiah Choir, Portland, — 
Me.; Pres. Theta Delta Rho, Cam- @ 


bridge, Mass., and American Federation — 
Musicians; pianist at Jefferson, Elm, — 
Empire, Portland, and Casco Theatres, q 
Portland, at various times; toured in — 


_vaudeville; newspaper writer and short — 


story writer; composer, popular music. 4 
Address, 709 Fidelity Bldg., Portland. 
Me. . . 


Wasgatt, Mrs. Elizabeth Helen (contral- a 


to), vocal teacher, concert artist; bea 
Fredericton, N. B., April 26, 1843; dom 
John and Ellen Torrens; m. Dr. Emery * 


T. Wasgatt, May 5, 1864; ed. Boston ~ 
Music School; studied with B. F. Baker, — 


Fannie Frazier Foster; mem. Unitarian 
Church Choir, Bangor, at age of fifteen; — 
Pres. Mendelssohn Club of Bangor and — 
the Eastern Maine Music Festival; — 
mem: music committee Bangor Festival — 
Chorus, 1900-1-2. Summer home, Mere- 
point, Me. Address, 87 Prince St., Ja- | 
maica Plain, Mass. 


Wasgatt, Dr. Oscar Emery, violinist, con- 


cert master; b. Bangor, Me.; studied 
violin with Emil Mollenhauer and other 
Boston teachers; concert master, Ban- q 
gor Symphony Orchestra and Me. Fes- _ 


tival Orch., 7 yrs.; later of the Boston y 


Festival Orchestra. Address, Bangor, — 
Me. 


BIOGRAPHICAL SECTION— 1927-1928 469 


Wass, Caroline, m.t. Address, Cherry- 


field, Me. 


Wass, Prof. Edward Hames, organist, 
teacher; b. Weymouth, Mass., Dec. 7, 
1874; s. Christopher and Annie Haines 
Wass; m. Eva Beatrice Heigham, 1896; 
ed. Harvard; studied with Searing, 
Gerard Sallandier (piano); studied or- 
gan with C. H. Whittier and Warren 
Locke; theory and composition at Har- 
vard; org. and choirmaster Church of 
the Ascension, East Cambridge, St. An- 
drew’s, Boston, St. Paul’s, Malden, 
Trinity, Melrose, St. Mark’s, Augusta, 
Me.; founder and conductor Choral Art 
So., Augusta, Me., 4 yrs.; Augusta Fes- 
tival (Chorus, 3 yrs.; dir. Cecilia Club, 
Augusta, I2 yrs.; org. and choirmaster 
Ist Cong. Church, Brunswick, Me.; Prof. 
of Music at Bowdoin College and col- 
lege organist; Colleague Am. Guild of 
Organists; honorary degree of Doctor 
of Music conferred in 1928 by Bowdoin 
College. Summer home, Squirrel Island. 
Address, 7 Page St., Brunswick, Me. 


Wasson, Martha, public school music 
supervisor; b. Wells, Minnesota; d. Van 
R. and Nellie J. Wasson; grad. Milliken 
Univ., Decatur, Ill., and Milliken Con- 
servatory; studied theory, Institute Mu- 
sical Art; voice with Rupert Neily; 
taught singing several years at Maine 
Conservatory, Portland; mem. Wom- 
en’s Choral Society, 1919-26, and was 
Sec.-Treas. 2 yrs.; mem. Portland Ros- 
sini Club, 1919-22, Charles Griffes’ Club. 
1922-23: supervisor of music in West- 
brook, Me., 1922-25; in charge of music 
dept. Gorham Normal School, 1925-26. 
Address, 14 O’Neil St., Bergenfield, 
Ney: 

Waterhouse, Everett, vocalist; soloist 
Maine Music Festival; mem. Temple 
Quartette. Address, Saco, Me. 


Waterhouse, Ruth, vocalist: mem. Wom- 
en’s Choral Society. Address, 1080 Con- 
gress St., Portland, Me. 


Waterhouse, Ruth Elva, pianist, music 
teacher; b. Old Town, Me., May 17, 
1902; d. William H.and Clara L. Water- 
house; ed. University of Maine; studied 
with Abbie N. Garland, Bangor, and 
Virgil Conservatory of Music, N. Y.: 
accompanist Old Town Festival Chorus. 
Address, 7 Bradbury St., Old Town. Me. 


Waterhouse, Hon. W. H., dir. Eastern 
Maine Musical Association. Address, 
Old Town, Me. 


Watson, Mrs. Elizabeth, vocalist; mem. 


Hee Choir, Bangor. Address, Bangor, 

e. 

Watson, Helen E., m.t.; accompanist Me. 
Festival Chorus. Address, 81 Highland 


Ave., Auburn, Me. 


Watson, Willis Elmer, clarinettist;  b. 
Kennebunk, Me., Aug. 18, 1885; s. W. 
Lester and Ida Morrill Watson: m. 
Florence M. Cook, Oct. 30, 1912; stud- 
ied with William E. Chandler; mem. 
Pine Tree Orchestra, Kennebunk Band 
and York County Masonic Band (clari- 
net, saxophone); mem. A. F. S. A. M.., 
Knights of Pythias, Redmen, 32d degree 
Mason, K. R. S. Myrtle Lodge, K. of 
P.; former mem. Kennebunk Festival 
Chorus; composer “Twilight Memo- 
ries,’ “Smile Down Suwanee Moon”; 
“March of the Tinker Togs” and other 
popular numbers. Pres. Star Print, Inc. 
Address, 46 York St., Kennebunk, Me. 


Watts, Hazelteen, school music supervisor. 
Address, Monmouth, Me. 


Watts. Mary E. C., m.t. Address, 44 Win- 
ter St., Portland, Me. 


Webb, Doris Geneva, pianist, violinist; b. 
Cornish, Me.; d. Walter L. and Laura 
Weeks Webb; ed. Westbrook Seminary; 
studied with Mrs. Blanche Dingley- 
Mathews, David Fisher; leader  Bridg- 
ton Academy Orchestra. Vocation, 
teacher of violin and piano. Address. 
Bridgton Academy, No. Bridgton, Me. 


Webber, Mrs. Grace, m.t. Address, 45 
Gamage Ave., Auburn, Me. 


Webber, Howard, teacher of violin. 
dress, Rumford, Me. 


Weeks, Norman Everett, instrumentalist 
(saxophone); b. So. Gardiner, Me., 
March, 1899; s. Daniel S. and Elizabeth 
Everett Noble Weeks; ed. Portland, 


Ad- 


Me., and Palmer School. Davenport, 
lav; mem. Dover-Foxcroft Band, Pis- 
cataquis Club, Dover-Foxcroft, and 


Hadattah Lodge 1) OO, F., Portland. 
Vocation, chiropractor. Address, Union 
Square, Dover-Foxcroft, Me. 


Welch, Earl Hermond, vocalist (baritone) ; 
b= Pittston) Me, Sept) 25... 1004? <s. 
Emery E. and Harriett Welch; ed. pub- 
lic schools, So. Weymouth, Mass.; stud- 
ied with Mrs. Richard Stubbs and Isi- 
dore Braggiotti; mem. St. Mark’s 
Church Choir, Augusta, Me. Res.. 133 
State St., Augusta, Me. 

Welch, Dr. Francis J., violinist: b. Port- 
land, Me., Aug. 27, 1879; s. Thomas J. 
and Louisa Deehan Welch; ed. Bow- 


470 


doin College; studied with Frank Burn- 
ham, Portland, and Charles M. Loeffler, 
Boston, Mass.; mem. Maine Festival 
Orchestra, 9 yrs., concert master 2 yrs.; 
mem. Elks, Kiwanis, K. of C. and med- 
ical organizations. Vocation, physician. 
Address, 44 Deering St., Portland, Me. 


dir. Most 
Address, 


Welch, Lou, org. and choir 
Holy Trinity Church, Saco. 
Saco, Me. 


Welch, Mollie B., m.t. Address, 363 Main 
St., Biddeford, Me. 


Wellcome, Frank O., teacher of brass in- 
struments; b. Yarmouth, Me., June 8. 
1862; s. Isaac C. and Mary (Decker) 
Wellcome; m. Mary Lindsay, April 14, 
1882; ed. public schools of Yarmouth, 
Me: studied: with Prof. E. A. >Blan- 
chard, A. E. Browne, Frank L. Collins 
and Frank Burnham; mem. Unitarian 
Church Choir, Yarmouth (baritone); 
mem. Yarmouth Band, 1882-1886, Chan- 
dler’s Band, Portland, 1887-1900 (trom- 
bone); mem. Chandler’s, Gilbert’s, Wil- 
son’s, Maine Festival and Portland 
Theatre Orchestras; mem. American 
Federation of Musicians; inventor of 
tuning device for a trombone, patented 
1891; composer of several hymns. Vo- 
cation, postmaster. Address, 11 York 
St; Yarmouth, Me: 


Weller, Mrs. Paul, m.t. Address, Macliias, 
Me. 


Wells, Florence A., organist, Pine St. 
Cong. Church, Lewiston. Address, Lew- 
iston, Me. 

Wentworth, Rev. Allison, vocalist (bari- 
tone) and teacher of voice; b. Baldwin, 
Me.,  June- 13; 1876: s; Phomas>]:4and 
Ellen A. Wentworth; m. Winifred E. 
Larrabee, Sept. 4, 1898; ed. Potter Acad- 
emy, Sebago, Me.; studied with Thos. 
J. Wentworth and Albert Clark; mem. 
Newfield M. E. Church Choir; mem. 
West Baldwin Band, 1898-1900; Pres. 
and Dir. Newfield Singing Club, 1918- 
1919. Pastor No. Deering Community 
Church. Address, 16 Fobes St., Port- 
land, Me. 


Wescott, Mrs. C. W., vocal teacher. Ad- 
dress, Belfast, Me. 


Wescott, Frederick A., organist, vocalist 
(tenor); b. Bar Harbor, Me., March 15, 
1890; s. Orlando P. and Cecelia Lins- 
cott Wescott; m. Pearl Otto, March 24, 
1926; ed. Bar Harbor schools and N. Y. 
University; studied piano with L. Var- 
ney, E. Hall, and organ with A. Houl- 


MUSIC AND MUSICIANS OF MAINE 


ton; org. Episcopal Church, Bar Har- ~ 
bor; mem. Bar Harbor Band and 303rd _ 
Field Artillery Expeditionary Force — 
(ciarinet, saxophone, piano); mem. La-— 
Fayette Five Orch.; mem. Am. Legion, ~ 
Knights of Pythias, Odd Fellows, Ma- 
sons. Vocation, supervisor of public — 
school music. Address, 11 Roberts ~ 
Ave., Bar Harbor, Me. ‘: 


Wescott, Pearl Otto, teacher of piano and ~ 
pipe organ; b. Cambridge, Mass., 1893; — 
d. William T. and Dora A. (Tracyj@ 
Otto; m. Frederick A. Wescott, March 
24, 1926; ed. at Philadelphia Musical 
Academy and private teachers; studied — 
with Mrs. Emma Bolton Leslie, Boston, ~ 
Mass., and Richard Zeckwer, Philadel- — 
phia; accompanist for Mrs. Horatio ~ 
Slater and George Harris; theatre organ- — 
ist; org. Unitarian and Cong. Churches, — 
Bar Harbor. Address, 126 Main St., Bar 7 
Harbor, Me. a 


West, John G., Treas. Lewiston and Au- — 
burn Oratorio Chorus. Address, 25 Lis- 
bon St., Lewiston, Me. a 


Westgate, Eleanor Ernestine, teacher of © 
piano; b. Norwood, Mass., April 22,3 
1897; d Elmer E. and Eleanor West- ~ 
gate; ed. Canton High School and Far- — 
mington Normal; studied with Florence ~ 
Wells of Lewiston, Me.; mem. of sev- — 
eral local orchestras; org. Universalist — 
Church, Canton, Me. Address, Canton, — 
Me. e 


Weston, Mildred Retha, teacher of piano; — 
b. Skowhegan, Me., Sept. 21, 1891; d. — 
Horace M. and Helen B. Weston; m. — 
Edward B. Weston, Sept. 4, 1917; ed. 4 
Boston, Mass.; studied with Miriam A. — 
Cochrane; org. Cong. Church, 1916-17, — 
and Baptist Church, 1918, Skowhegan; 
mem. Skowhegan Chapter, O. E. S., and © 
Skowhegan Sorosis Club. Address, — 
Skowhegan, Me. a 


Wetmore, Rosina, vocalist; b. Houlton, — 
Me:, Nov. 22, 1894; d. Leighton and ~ 
Adelaide Rideout Shaw; m. Bertram ~ 
Wetmore, Jan. 8, 1919; mem. choir First — 
Baptist Church; Sec. Houlton Music 
Cit Address, Franklin St., Houlton, 

e. . 


Wheeler, Edith Hayes, organist, vocalist 
(soprano); b. Auburn, Me., Dec. 20, 
1877; d. William and Anna Ham Hayes; — 
ed, E. L. H. S.; A.B. Bates Colleges 
1899; m. Alton C. Wheeler, April 18, 
1905; teacher Greek History, E. L. H. 


Whipple, Leyland, m.t. 


PIOGCRAPHICAL SECTION—1927-1928 471 


Setecn- 1004; ore. Park St. M. E-. 
ure ewiston, 2 yrs., Sixth St. 
Cong., Auburn; Auditor Me. Women’s 
S ifrage Assn., 2 yrs.; Treas. Red Cross 
Oxford Co.; Pres. Seneca Club, Euter- 
pean Club; First Pres. Community Club, 
So. Paris; mem. Phi Beta Kappa; mem. 
Quartette Baptist Church and Ladies 
Nevin Quartette, So. Paris. Address, 7 
Porter ot, 50. Paris, Me. 


Whelpley, Benjamin Lincoln, composer, 


organist, pianist and teacher; b. East- 
port, te, Oct, 23, 1864; s: Henry and 
Sara’) Moore Whelpley; ed. Boynton 
Academy, Eastport; studied piano with 
B. J. Lang, Boston; composition with 
Sidney Homer, and with E. M. Dela- 
borde, Paris; org. Arlington St. Church, 
Boston; mem. Harvard Musical Asso- 
ciation; composer, “Evening Song,” 
“Dance of the Gnomes,” “Under Bright 
Skies.” Office, 6 Newbury St., Boston. 
Res., 81 St. Botolph St., Boston, Mass. 


Whibley, Mrs. George M. (Jane), vocalist 


(soprano) ; mem. Portland Rossini Club, 
Women’s Choral Society; former mem. 
Cecilia Ladies Quartette. Address, 17 
Noyes St., Portland, Me 
Address, 100 
Maple St., Bangor. Me. 


White, Bessie Alberta, vocalist (soprano) ; 


b. Woodstock, N. B., June 23, 1897; d. 
Simeon L. and Mary Bretton Sherwood; 
m. Gordon R. White, April 26, 1916: 
studied with Mary G. Burpee and David 
Soderquest; mem. Mi itary St. Baptist 
Church, Houlton; Pres. Houlton Music 
Club; mem. Houlton Woman’s Club, 
Order of Eastern Star, Rebekahs, 
Grange. Address, 26 Weeks Ave., Houl- 
ton, Me. 


White, C. Edwin, music teacher, saxo- 
phone. Address, 562 Congress St., Port- 
land, Me. 
White, Effie May, teacher of piano; b. 
Everett, Mass., April 26, 1883; d. John 
Yerxa and Eugene Dockendorff White; 
ed. private teachers, Boston and Fitch- 
burg, Mass.; studied with Mrs. Newton 
Swift and H. C. Peabody; formerly org. 
First Cong. Church, Richmond, Me. 
Address, 7 Gardiner St., Richmond, Me. 


White, Elise Fellows, concert violinist, 
composer; b. Skowhegan, Me., Nov. 14, 
1873; d. James and Deborah Fellows; m. 
Bruce M. White, of British Columbia, 
Nov. 16, 1898; began study of violin at 
age of eight; studied violin 4 yrs. at N. 
E. Conservatory, Boston, under Ada- 


ELISE FELLOWS WHITE, VIOLINIST. FROM PHOTO 
MADE IN 1895. 


mowski and Campanari; harmony with 
Stephen A. Emery, and theory with 
Louis Elson; playing concerts in and 
around Boston; appeared Boston Music 
Hall at Quarterly Concert given by N. 
E. C. in 1885; studied 7 yrs. with Franz 
Kneisel, first violin Boston Symphony 
Orchestra, also under Kneisel’s teacher, 
Prof. Jacob Grtin, of Vienna, Austria, as 
well as with Max Lewinger; made three 
public appearances in Vienna, in 1891-2, 
at musicale given by Frau Cecelia 
Frank, playing Zigeunerweisen, and 
Sonata by Reinhold; appeared at recital 
given by Adele Mandlick and at recep- 
tion given by Col. Fred. D. Grant, min- 
ister to Austria; on return to America 
was soloist under B. J. Lang, at King’s 
Chapel, Boston; made debut as soloist 
Boston Cecilia Club; became member 
string quartet class under Kneisel; stud- 
ied harmony and counterpoint under 
Eugen Grinberg; in 1895-6, under man- 


472 


agement of Wolfsohn’s bureau, went on 
extended concert tour northwestern 
Canada and U. S., playing Vancouver, 
Seattle, Winnipeg, Duluth, Chicago, 
etc.; on return played as soloist at con- 
certs given by Memnon Club of Hart- 
ford, under Mrs. Chas. Dudley Warner; 
made N. Y. debut at Bagby Musicales, 
Waldorf-Astoria, with Nordica; 1896 
was first violin N. Y. Women’s Sym- 
phony Orchestra, under Carl Lach- 
mund; app. concerts Brooklyn, N. Y., 
Bar Harbor, and first concert Maine 
Festival Chorus, Skowhegan, 1898; in 
1897-8 special course at Colby College, 
first prize extemp. composition; after 
marriage, 1898, res. Nelson, British Co- 
lumbia; played concerts in Can. North- 
west; in 1904 played Bruch G minor 
Concerto at Matinée Musicale in Spo- 
kane; played Portland Rossini Club as 
active member in 1914; toured Maine 
with Chas. Marshall in 1914; app. three 
months as soloist Federated Church, 
Skowhegan, 1926; broadcast radio WBZ, 
program own compositions, in Boston, 
1925; composer 12 pub. songs, one violin 
concert piece, many unpub. songs, three 
choral numbers, with own words, for 
women’s voices, with violin obligato; 
played own compositions on Maine 
Composers’ Day, Portland Rossini Club. 
in 1920; her Madrigal for thirty women’s 
voices, with violin, was given at Spring 
Concert, Portland Rossini Club, 1927; 
contributor of about 50 musical articles, 
essays, etc., to Musical Quarterly, Mu- 
sical Observer, and New Music Review, 
N. Y., also Violin World and Chicago 
Music News; historical articles published 
Lewiston Eve. Journal and Independent 
Reporter; eligible through her mother 
to Society Mayflower Descendants; for- 
mer active, now priv. member Rossini 
Club; former member Eunice Farns- 
worth Chapter, now mem. Elizabeth 
Wadsworth Chapter. D. A. R.; Maine 
Writers’ Research Club; Pres. Portland 
Alumnae Chapter, Sigma Kappa Soror- 
ity; mem. Skowhegan Hist. Society and 
former mem. Library Board; author 
chapter History of Music in Old Bloom- 
field, in Skowhegan Town History. 
Res., 82 Fessenden St., Portland, Me. 


White, Mrs. Gladys, org. Court St. Bap- 


tist Church. Address, Auburn, Me. 


White, Herbert Leslie, instrumentalist; b. 
Brewer, Me., May 9, 1888: s. Leslie P. 
and Linnie (Grant) White; m. Clara 
W. Rice, July, 1918; ed. Brewer, Me.; 


MUSIC AND MUSICIANS OF MAINE 


studied piano and harmony with Geor- — 


gia Holt, Bangor, and French horn with 
H. Lorbeer of the Boston Symphony 
Orchestra; mem. board of dir., Lewis- 
ton-Auburn Symphony Orchestra; for- 
mer mem. Hobbs American Band, Au- 
burn, 1922-24, Navy Band, 1917-18. Vo- 
cation, piano tuner. 
View St., Auburn, Me. 


White, Kenneth Vernon, trumpet soloist; — 
b. Rockland, Me., Jan. 2, 1902; s. Arthur 


I. and Frances F. White; m. Evelyn 
Crouse, Oct. 5, 1920; ed. Rockland, Me.; 
studied with Stanley Wallace; 
Rockland Concert Band and Marsh’s 
Orchestra; finance officer, American 
Legion. Vocation, druggist. Address, 
Box 475, Rockland, Me. 


White, Louis E., vocalist (tenor); b. New- 


buryport, Mass., April 23, 1878; s. Jo- 
seph M. and Patience G. White; m. 


Edna L Hotchkiss, Aug. 24, 1904; mem. — 


choir churches New Britain and Hart- 
ford, Conn.; Pres. Portland Men’s Sing- 


ing Club; Past Pres. Woodfords Club; 


Past Pres.. Boy Scouts of America, 
Cumberland Co.; mem. Deering Lodge 
of Masons, Kiwanis Club, Woodfords 
Club, ,Portland Country Club, Settlers 
Club; Pres. and Treas. H. E. Murdock 
Co.; Pres. Brighton Club.; mem. N. E. 


Asso. of Male Glee Clubs and Asso. — 


Glee Clubs of America. Vocation, op- 


tometrist. Address, 21 Deblois St., Port- — 


land, Me. 


White, Paul Taylor, violinist; b. Bangor, 


Louis C. and 
m. Josephine 


Me., Aug. 22, 1895; s. 
Grace Taylor White; 


Kryl, Sept. 27, 1922; ed. Bangor, Me.; 


studied with H. M. Pullen. A. 


Sprague, Felix Winternitz, G. W. Chad- 


wick, Stuart Mason, Ottokar Sevcik, 
Eugene Ysaye; graduate highest hon- 
ors N. E. Conservatory; mem. Bangor 
Episcopal Church Choir, 1906; concert 
master N. E. Conservatory; formerly 


first violin Cincinnati Symphony Or- — 
chestra; mem. Phi Mu Alpha and Sin- © 


fonia Clubs; composer, poem for violin 


and orchestra, Lyric Overture, Fenilles 
Symphoniques, Old Fashioned Suite for — 


Address, 7 Western — 


mem, 


PO ee Ee Se eT te ee ere ee ee 


Orchestra, five pieces for violin and 


piano published by Edition Cranz, Brus- 


sels, London, and Leipsic; violin soloist, — 


teacher, composer, conductor. Address, 
73 Audubon Road, Boston, Mass. 


White, Mrs. Ruth, Vice Pres. Marston 4 


Club, 1925. Address, Portland, Me. 


White, William C., vocalist (tenor); mem. 


BIOGRAPHICAL SECTION—1927-1928 473 


Portland Men’s Singing Club. Address, 
Falmouth Foreside, Me. 


White, Mrs. William C., vocalist; mem. 


Women’s Choral Society. Address, Fal- 
mouth Foreside, Me. 


Whitehead, John Bailey, vocalist (tenor) ; 
b. So. Berwick, Me., July 2, 1852; s. 
Charles E. and Mary Bailey Whitehead; 
m. Ella P. Coison, Feb. 2, 1882; studied 
with Carrie A. Brackett and S. B. Whit- 
ney, Boston, Horace M. Walton, New- 
tonville, Mass.; mem. choir Cong. and 
Baptist Churches, So. Berwick, Cong. 
and Catholic Churches, Salmon Falls, 
Catholic Church. Portsmouth, N. H., 
and Cong. and Catholic, Dover, N. H.; 
mem. quartette choir Cong. Church, 
Dover, N. H., 17 yrs.; mem. Masonic 
Blue Lodge, Chapter, Council, Com- 
mandery and 32d degree Scottish Rite; 
Pres. Mozart Chorus, So. Berwick; 
mem. Maine Festival Chorus; mem. 
Boston Peace Jubilee, 1869 and 1872, 
Dover, N. H., Choral Union, 1872, 
Somersworth, N. H., Chorus, Concord, 
N. H., State Festival Chorus and cho- 
ruses at Kittery and Kennebunk, Me. 
Vocation, merchant tailor. Address, 
Elm St., So. Berwick, Me. 


Whitehouse, Florence Brooks, vocalist; b. 


Augusta, Me., d. Samuel Spencer and 
Mary Caroline (Wadsworth) Brooks; 
m. Robert Treat Whitehouse, 1894; ed. 
St. Catherine’s Hall, Augusta, and Eu- 
rope; studied with Miss White, Boston; 
mem. choir Augusta Unitarian Church, 
1893-4; mem. Rossini Club; chairman 
Maine Branch Nat. Woman’s Party, 
eivora the God of Things,” “The 
Effendi,’ and short stories. Address, 
108 Vaughan St., Portland, Me. 


Whiting, Harriet Strout, teacher of piano; 
b. Winthrop, Me., Sept. 12, 1866; d. 
William Newell and Carrie Turner 
Strout; m. W. A. Whiting, June 30, 
1890; ed. Kent’s Hill; studied with Prof: 
Turner and Hanscome; org. for 35 yrs. 
at Cong. Church, Winthrop. Address, 
Winthrop, Me. 


Whitman, Barbara Huntington, pianist 


and music teacher; b. Bangor, Me., Dec. 
16, 1908; d. Henry F. and Emma M. 
Whitman; studied with Abbie N. Gar- 
land, Mary H. Hayford, Mrs. E. L. 
Howes; formerly org. First Methodist, 
Brewer; mem. Grace Church Orchestra; 
org. Grace M. E. Church, Bangor; mem. 
Schumann Club, William R. Chapman 


im 


Club; Vice Pres. Chapman Club. Ad- 
dress, Bangor, Me. 


Whitney, Jennie Pierce, vocalist (sopra- 


no), music critic; b. Portland, Me.; d. 
Capt. Benjamin F. and Frances Elder 
Whitney; ed. The Misses Symonds Pri- 
vate and High Schools; studied with Wil- 
liam Henry Dennett, Portland, Albert E. 
Pennell, Boston (voice); Prof. Lynch 
and Harvey Murray (piano); music eci- 
tor, Portland Daily Press and Sunday 
Times, 1905-21; charter member Annie 
Louise Cary, Cosmopolitan and Com- 
munity Clubs of Gorham;Portland Busi- 
ness and Professional Woman’s Club; 
Maine Research Club. Address, 24 South 
St., Gorham, Me. 


Whitney, John J., Pres. Ellsworth Festi- 


val Chorus. Address, Ellsworth, Me. 


Whitney, Joseph Walker, vocalist (tenor) ; 


b. Portland, Me., Nov. 25, 1877; s. Ammi 
and Emily Haskell Whitney; m. Bertha 
L. Steward, Oct. 7, 1908; ed. Portland 
High School and Bowdoin College; 
studied with Mrs. Henrietta Fellows, 
Henrietta D. Rice, Mrs. Evelyn Day 
White, William Whitney and A. R. 
Frank; mem. Free St. Baptist Church 
Choir, Portland, 1921-22, First Parish 
Church Choir, 1907-18, Warren Church 
Choir, Westbrook, and High St. Church 
Choir, Portland; mem. Portland Men’s 
Singing Club, 1921-22, Kotzschmar 
Club, Choral Art Society, Mozart Quar- 
tette, Masonic Quartette, and Bowdoin 
Glee Club; dir. Kendall & Whitney and 
Casco Mercantile Trust Co. Vocation, 
seed merchant. Summer home, Great 
Diamond Island. Res., 22 Clifford St.. 
Portland, Me. 


Whitney, Mrs. Joseph W. (Bertha Stew- 


ard), vocalist (soprano); b. Hartland, 
Me., July 9, 1879; d. Pembroke S. and 
Lenora Bennett Steward; m. Joseph 
Walker Whitney, Oct. 7, 1908; ed. Hart- 
land Academy, Hartland, Me.; studied 
with Mrs. Henrietta Fellows, William 
H. Dennett, William Whitney, A. R. 
Frank and Henrietta D. Rice; mem. 
State St. Church Choir, Portland, since 
1904 (1922); formerly mem. choir 
Church of Messiah, First Parish Uni- 
tarian Church, 18 yrs.; priv. mem. Port- 
land Rossini Club, 1921; mem. Choral 
Art Society. Summer home, Great Dia- 
mond Island, Me. Address, 22 Clifford 
St., Portland, Me. 


Whittier, Mary Talbot, teacher of piano; 


b. East Machias, Me.; d. Frederick Os- 


474 MUSIC AND MUSICIANS OF MAINE 


car and Kate Waide Talbot; m. Henry 
S. Whittier, Sept. 11, 1902; ed. Calais, 
Me., Mt. Allison Ladies’ College, Sack- 
ville, N. B., and at N. E. Conservatory; 
org. Cong. Church, East Machias; mem. 
Machias and E. Machias Festival Cho- 
rus. Address, East Machias, Me. 


Whittredge, Mrs. Anne Elizabeth (lyric 
soprano), vocal teacher, concert artist; 
b. Bangor, Me.; d. Dr. Emery and Eliz- 
abeth H. Wasgatt; m. Edgar L. Whit- 
tredge, Sept. 14, 1894; studied with 
Lemuel A. Torrens, Chicago and New 
York, and Mrs. Henschel, Europe, also 
with Charles R. Adams and Emil Mol- 
lenhauer. Address, Steinert Bldg., Bos- 
ton, Mass. 

Wiggin, Mrs. Charles, m.t. Address, Ells- 
worth, Me. 


Wiggin, Josephine, Sec. Bangor Festival 
Chorus. Address, Bangor, Me. 


Wight, Austin Jenness, teacher of violin; 
b. Warren, Me., June 23, 1871; s. Wil- 
liam Fessenden and Lucy Fuller Wight; 
m. Ida Marion Hartshorn, Nov. 21, 
1900; studied with Emil Mollenhauer 
and Ovide Musin; mem. Boston Festival 
Orchestra one season; formerly con- 
nected with Olean, N. Y., School of Mu- 
sic and Warren, Pa., Conservatory of 
Music. Vocation, teacher of violin and 
orchestra in the University of Georgia 
and private studio. Res., 263 Hancock 
Ave., Athens, Georgia. 


Wight, Mrs. James (Emma E. Burpee), 
organist, pianist; b. Rockland, Me.; d 
Nathaniel Adams and Mary Jane (Par- 
tridge) Burpee; m. James Wight, Nov. 
24, 1864; studied piano with Mr. 
Whipple and Mr. Hill of Boston and 
organ with Mr. Hadley of Boston; org. 
at Methodist, Baptist and for 37 yrs. 
at Cong. Church, Rockland; also at 
Baptist Church, Thomaston; accompa- 
nist, Orpheus Club, Choral Association, 
Wight Philharmonic Asso., Rubinstein 
Club of Rockland. Address, Rockland, 
Me. 

Wight, Winfield Scott, vocalist (bass); b. 
Gilead, Me.; s. Gardiner and Rachel 
Stiles Wight; m. Flora Bartlett, May 7, 
1889; ed. Gould’s Academy, Bethel, Me.; 
studied with Payson Grover, W. J. Har- 
rington, Horatio Newell and at Holt’s 
Normal Music School, Boston (grad- 
uate); mem. Oxford County Musical 
Asso.; mem. Maine Music Festival, 26 
yrs.; dir. of festivals, conventions, sing- 
ing schools and choir leader for 35 yrs. 


all over the 6 Eastern States, New York, 
New Jersey, Nova Scotia, New Bruns- 
wick, Canada and Florida. Address, 
Bethel, Me. 


Wilbur, Mrs. Minnie, m.t. Address, East- 


brook, Me. 


Wilcox, John Wesley, trombonist; b. Put- 


nam, Conn., March 31, 1877; s. George 
R. and Viola Bridge Wilcox; m. Blanche 
Kimball, Sept. 1, 1904; ed. Putnam, 
Conn.; studied with Al Herrick; mem. 
Augusta Cadet Band and Augusta 
Symphony Orchestra; mem. Musicians 
Union and Grange, Augusta, and Na- 
tional Soldier’s Home Band at Togus, 
Me. Vocation, butcher. Address, R. F. 
D. No. 54, Windsorville, Me. 


Wilde, Edwin Ernest, organist and music ~ 


teacher; b. Calais, Me., Aug. 31, 1887; s. 
Cyrus and Helena A. (Williamson) 
Wilde; ed. New Bedford, Mass.; studied 
music with A. Madeley Richardson, H. 
W. Richards and F. G. Schinn in Lon- 
don; lecturer in music, Brown Univer- 
sity, since 1914; instructor in harmony, 
Columbia Univ. summer session, 1916; 
org. and choirmaster, St. Stephen’s 
Church, Providence; Pres. R. I. State 
Federation of Music Clubs, 1914-16; 
mem. Royal Coll. of Organists. London; 
Associate Am. Guild of Organists Ad- 
dress, 119 George St., Providence, R. I. 


Wildér, Katherine E. Brier, vocalist (mez- 


zo soprano); b. Belfast. Me.; d. R. W 
and Emma Brier; m. William Wilder; 
ed. Belfast, Me.; studied with Mrs. 
Clement Wescott; mem. Univ. Church 
Choir, Belfast; mem. B. & P. Women’s 
Club and Aurora Rebekah Lodge. Ad- 
dress, 90 Union St., Belfast, Me. 


Wilkins, Mrs. Franklin H. (Madeline), 


vocalist; priv. mem. Portland Rossini 
Club; formerly Cor. Sec. Me. Federa- 
tion Music Clubs. Address, 439 Cham- 
berlain Ave., Portland, Me. 


Wilks, Ronald D., vocalist; b. Dartmouth, 


N. S., Dec. 19, 1906; s. Pearce and Em- 
ma Betts Wilks; ed. Bowdoin Coll., 
Class of 1929; mem. choir First Bap. 
Ch., Danvers, Mass., and Meth. and Bapt. 
Churches, Brunswick, Me.; mem. Clas- 
sical Club, Masque and Gown, Psi Up- 
silon Fraternity, Bowdoin College Glee 
Club; mem. Brunswick Choral Society, 
1926. Address, Psi U. House, Bruns- 
wick, Me. 


Williams, Bertha Elizabeth, vocalist; b. 


Chatham, N. J., May 13, 1908; d. George 
Alfred and Clara Andrews Williams: 


PT RE ee ee ee ee OR Tee ee 


BIOGRAPHICAL SECTION—1927-1928 475 


studied with Mabel S. Hall, Cora E. 
Martin, Ida D. Sweate and Heloise P 
Renouf; mem. St. Ann’s_ Episcopal 
Church, and preceptor and soloist So. 
Cong. Church, Kennebunkport; author 
short stories; vocal soloist and piano ac- 
companist. Address, Beachwood Road, 
Kennebunkport, Me. 


Williams, Harry B., teacher of piano and 
manager musical artists; b. Gardiner, 
Me., Jan. 23, 1861; s. Benviah and Re- 
becca Lancaster Williams; studied with 
Mme. Leitrich Strong. Res., Minerva 
Hotel; studio, Pierce Bldg., Boston, 
Mass. 

Willis, Elinor, violinist; mem. Portland 
Rossini Club. Address, 81 North St., 

Portland, Me. 

Williston, Marion Sprague, organist, pian- 
ist, music teacher; b. Bangor, Me., Nov. 
I1, 1892; d. George A. and Myrtie L. 
Sprague; m. Benjamin P. Williston, 
July 17, 1915; studied with Mrs. I. J. 
Fifield, Mrs. H. L. Jewell, C. Winfield 
Richmond; org. Grace M. E. Church, 9 
yrs., All Soul’s Church, 5 yrs.; and then 
at First Church of Christ Scientist; 
mem. Schumann Club. Address, 264 
French St., Bangor, Me. 

Wilson, Hazel Deborah, vocalist (mezzo 
soprano) and instrumentalist (mandolin, 
banjo, piano); b. Cherryfield, Me., Sept. 
13, 1892; d. Emerson Kidder and Har- 
riet Noyes (Eaton) Wilson; ed. Far- 
mington State Normal and Lowell State 
Normal; studied with Mabel Starbird, 
Farmington, Louis Schalk, Boston, and 
Albert Edmund Brown, Lowell; dir. 
glee club and orchestra in high schools; 
mem. Maine Festival Chorus, Freeport, 
and State Liberty Chorus, Cherryfield, 
Me. Vocation, music supervisor. Ad- 
dress, Cherryfield, Me. 


Winchester, John Howard, vocalist (bari- 
tone), bandsman; b. Corinna, Me., April 
13, 1865; s. John and Elizabeth Stewart 
Winchester; m. Sadie B. Dole, Sept. 5, 
1886; 2nd Della M. Bemis, Jan. I, 1913; 
ed. Maine Central Institute; mem. Co- 
rinna Band for 20 yrs.; mem. choir 
Cong. Church of St. Petersburg, Fla. 
(so voices); Pres. J. H. Winchester & 
Co.; Pres. Carmaine Holding Co. Vo- 
cation, real estate. Res., 119 20th Ave., 
St. Petersburg, Fla. June to November 
at Corinna, Me. 

Winfield, Madeline, vocalist (soprano); 
mem. Portland Polyphonic Society. Ad- 
dress, 377 Cumberland Ave., Portland, 
Me. 


Wing, Roswell A., vocalist (bass); b. 


Livermore Falls, Me., Oct. 3, 1867; s. 

Alonzo M. and Sarah J. Record Wing; 

m. Georgie L. Wing, April 25, 1906; ed. 

Colby College, Waterville, Me.; mem. 

First Baptist Church Choir, Livermore 

es Me. Address, Livermore Falls, 
e. 


Wingate, Edward R., vocalist (bass); b. 


Cherryfield, Me., March 28, 1852; s. 
George and Abigail Ricker Wingate; m. 
Hattie Willey, Jan. 16, 1878; ed. Univer- 
sity of Maine; studied with Stillman 
Tucker and Mrs. C. A. Ricker; mem. 
Cherryfield Band (alto, cornet, clari- 
net); leader choir Baptist Church over 5 
yrs.; former mem. Festival Chorus and 
Liberty Chorus. Vocation, woodworker. 
Address, Cherryfield, Me. 


Winn, Gladys, violinist; b. Portland, Me., 


April 13, 1910; d. Henry H. and Laura 
Winn; studied with Arthur Erickson 
and David E. Fisher; mem. Portland 
Municipal Orchestra. Address, 15 Hig- 
gins St., Portland, Me. 


Winslow, Helen M., music teacher; ac- 


companist Me. Festival Chorus. Ad- 
dress, 141 Ash St., Lewiston, Me. 


Wiswell, Andrew M., instrumentalist (sax- 


ophone, trombone); b. Machias, Me., 
Jan. 5, 1905; s. Hovey M. and Nettie 
Stevens Wiswell; ed. Manlius Military 
School, U. of M., and grad. Yale Univ.; 
studied with H. M. Wiswell; mem. Ma- 
chias Band, Manlius Band, Wiswell’s 
Saxophone Orchestra, Univ. of Maine 
Band, Yale Univ. Band, Yale Colle- 
gians; played trombone in Vincent Lo- 
pez Orch. N.Y. and Park: Central 
Hotel Orch.; mem. Phi Gamma Delta 
Frat. Address, Machias, Me. 


Wiswell, Harry S., instrumentalist (saxo- 


phone, cornet); b. Machias, Me., May 
13, 1903; s. Hovey M. and Nettie Ste- 
vens Wiswell; ed. Univ. of Me.; studied 
with H. M. Wiswell; mem. Machias 
Band, University of Maine Band and 
Instrumental Clubs and Wiswell’s Sax- 
ophone Orchestra; mem. Phi Gamma 
Delta Fraternity. Address, Machias, 
Me. 


Wiswell, Hovey M., band leader; b. East 


Machias, Me., Oct. 21, 1877; s. Frank 
H. and Antoinette Chaloner Wiswell; 
m. Nettie M. Stevens, Dec. 10, 1900; ed. 
Washington Academy; studied with F. 
M. Howe and A. I. C. Walker; leader 
Machias Band for 17 yrs.; leader Wis- 
well’s Saxophone Orchestra and band- 


476 


master Machias Boys’ Band; mem. 
Harwood Lodge, F. and A. M., R. A. 
Chapter, St. Elmo Commandery, Grange, 
K. of P. and M. W. A. Vocation, mer- 
chant. Address, Machias, Me. 


Witham, Burton B., piano tuner; b. West- 
brook, Me., Dec. 14, 1899; s. Dr. A. N. 
and Mary Pennell Witham; m. Celia A. 
Smart, June 15, 1921; ed. Faust School 
of Tuning, N. E. Conservatory; studied 
with O, C.. Faust; Treas. Universalist 
Comrades, Chapter No. 14, Cong. Sq. 
Church, Portland, Me.; representative 
of Cressey & Allen. Address, West- 
brook, Me. 


Witham, Mrs. Celia Smart, violinist; b. 
Livermore Falls, Me., July 22, 1900; d. 
Martin W. and Osca M. Smart; m. Bur- 
ton B. Witham, June 15, 1921; ed. Port- 
land, Me., Boston, Mass.; studied with 
Elizabeth O. Cony and Carl Pierce; 
mem. Marston Club and Griffith Club. 
Address, Westbrook, Me. 


Wood, Alice, honorary mem. Portland 
Rossini Club. Address, 5 Bramhall St., 
Portland, Me. 


Wood, Allen E., instrumentalist (oboe); 
b: Brandon, Vt., Dec. 16, 18635 s2 AZ J. 
and H. E. Wood; m. Mary E. Lovejoy, 
March 14, 1888; ed. Brandon Academy; 
studied with B. W. Thieme; mem. Au- 
gusta Symphony Orchestra and K. of 
P. Vocation, watchmaker. Address, 33 
Greenleaf St., Augusta, Me. 


Woodard, Edith, Sec. Lewiston and Au- 
burn Oratorio Chorus. Address, 181 
Gamage Ave., Auburn, Me. 


Woodard, Lula G, music teacher (man- 
dolin, banjo); mem. B. & P. Women’s 
Club String Quartette. Address, 156 
Free St., Portland, Me. 


Wocdbury, Hazel Delano, vocal teacher, 
soloist (soprano); b. Auburn, Me., Jan. 
14, 1888; d. Nathan F. and Nancy Dus- 
ton Woodbury, studied with Beulah 
Small, DeLoss Smith and Cecil Bur- 
leigh in University of Montana, A. R. 
Frank, Vernon Stiles, and Isidore Brag- 
giotti, also music course at Columbia 
University; soloist Christian Science 
Church, Lewiston; mem. church choirs 
in Lewiston and Auburn; soloist 34 yrs. 
at St. Paul’s Episcopal Church, Bruns- 
wick; State Pres. Maine Universalist Y. 
P. C. U.; mem. Lewiston and Auburn 
Festival Chorus and Philharmonic Club; 
supervisor of music in public schools, 
Mechanic Falls and Minot, Me.; super- 
visor of music in Gardiner schools 3 yrs. 


MUSIC AND MUSICIANS OF MAINE 


and in University of Porto Rico at Rio 
Piedras for 3 yrs. Address, 84 Court St., — 
Auburn, Me. Studio, 133 Lisbon St., — 


Lewiston, Me. 


Woodbury, Virginia Snow, teacher of vio- 
lin and piano; b. Auburn, Me., Aug. 18, © 
1891; d. Nathan F. and Nancy Ellen — 


Duston Woodbury; studied with Leigh 
G. Fenderson (violin); piano with 
Helen Watson; mem. Philharmonic 
Club; mem. Lewiston-Auburn Sym- 
phony Orchestra, 
Church Choir, tg10-11. Res., 184 Court 
St., Auburn, Me. 


Woodman, Earl, violinist; mem. Korda © 
Trio. Address, R. F. D. 4, Portland, Me. — 


Woods, Harvey J., band leader; b. Ban- 
gor, Me., Jan. 16, 1874; s. Horace F. and ~ 


1921-22, and Univ. — 


Sarah Southard Woods; m. Mae E. ~ 
Hopkins, Sept. 3, 1903; ed. Bangor, Me.; — 


studied clarinet with Fred Robbins and 
harmony with I. H. Odell, Boston; dir. 
Bangor Band, 1896-1900; mem. Pullen’s 
Orchestra, 1893-1902; Ist clarinet Maine 
Festival Orchestra, 1899-1900; also one 
of the original mem. Bangor Symphony 
Orchestra; dir. Nile Temple Shrine 
Band of Seattle, Wash., since 1913; dir. 
Nat. Assn. of Sheet Music Dealers; 


a a a ee eo a ree 


Pres. Woods Music Co., Seattle, Wash.; : 


composer, band music (marches) “Path 


of Glory,” “From the West,” “Imperial ; 


Potentate,” “Glory of the Seas,” “Let’s 


Go,” “Golf Girl,” “Age of Youth,” and ; 


“Laurels of Seas,” published by Carl 
Fischer; “Invincible America,’ pub. by 
Boston Music Co.; “Our National Heri- 


tage” and “Master Councilor,” pub. by 4 


The John Church Co.; mem. Seattle 
Symphony Orch., 1903-08 (first clari- 
net); dir. Wagner’s Concert Band, 
Seattle, 1927-28. Mail address, 1421 
Third Ave., Seattle, Washington. 


Woodside, Elmer A., instrumentalist (cor- 
net, French horn, violin); b. Brunswick, 
Me., May 27, 1891; s. Fred B. Wood- 
side; m. Lena F. Haskell, April 28, 1917; 
ed. Portland, Me.; studied with George 
Stretz, Gustav Ludike and Willard May- 


berry; mem. Chandler’s Band; former — 


mem. C. A. C. N. G. Band, Portland, 
and assistant bandmaster toth Regi- 
ment Band. Vocation, salesman and 
musician. Address, 20 Bean St., So. 
Portland, Me. 


Woodsum, Catherine, organist. Address, 
Mechanic Falls, Me. 


ve. *, ” 


BIOGRAPHICAL SECTION—1927-1928 


477 


Wocdworth, Orrie, m.t. Address, North 


Haven, Me. 
Woolfe, Elizabeth M., organist; mem. 
Porencs oranci, N. HE. Chapt. Am. 


Guild of Organists. Address, Portland, Me. 


~ Worden, Mrs. Harry, organist. Address, 


18 Gilman St., Portland, Me. 


Wray, Arline, vocalist; mem. Bach Choir, 
Bangor. Address, Bangor, Me. 


Wray, Estelle, vocalist; mem. Bach Choir, 
Bangor. Address, Bangor, Me. 


Wrenn, Victor Steven, vocal teacher; b. 
Yarmouth, Me., June 26, 1891; s. Ste- 
phen and Bessie Williamson Wrenn; ed. 
N. E. Conservatory and Baypath Busi- 
ness Coll., Springfield, Mass.; studied 
with Elmer Sherwood Joyce, Elmer E. 
Towne, W. L. Whitney and Mary Dins- 
more, mem, I. 0. O. F.; mem. Win- 
throp Ames’ Gilbert and Sullivan Opera 
Co. of New York City (on trans-conti- 
mental tour). Address, 20 Bean St., 
Madison, Me. 


Wright, Mrs. Althea C., vocalist; mem. 
Women’s Choral Society. Address, 49 
Foreside Road, Portland, Me. 


Wyman, Jane S., mt. Address, 
Sharon, Me. 

York, Isabel, vocalist; mem. Women’s 
Choral Society. Address, 165 High St., 
So. Portland, Me. 


a Mrs. O. A., m.t. Address, Howland, 

e. 

Yorke, Clarence Sherman, bandsman 
(French horn); b. Weld, Me., May 14, 
1862; s. James and Keziah Sanborn 
Yorke; m. Marcia Narbis; mem. choir 
Bethel Church (tenor); mem. Augusta 
Band, Ist Maine Regt. Band, Vols. War 
with Spain, 1898. Vocation, merchant. 
Address, 70 Arsenal St., Augusta, Me. 


Yorke, Helen Sherman, vocalist, colora- 
tata soprano: b. Bethel, Me.; d. C. S. 
Yorke of Augusta; studied piano and 
organ in Augusta and at age of four 
played in a Hallowell Church; first pub- 
lic appearance as singer at age of three 
years; mem. Festival Chorus, Bethel, at 
age of twelve; studied vocal music in 
Portland with Llewelyn B. Cain; and 
three years in Italy with Sebastiani; 
San@ tor 1% yrs. in Grand Opera in 
Naples; returned to America and stud- 
ied with Bispham; was Prima Donna 
with the De Feo Grand Opera Co. with 
which she toured the country; appeared 
in many recitals in private homes and 
clubs; soloist, Maine Festival, Portland, 


New 


HELEN YORKE, COLORATURA SOPRANO 


1921-22; in role of Micaela in Carmen; 
appeared before Rubinstein Club, N. Y., 
Dec., 1921; first song recital Aeolian 
Hall, where she was presented by David 
Bispham; appeared at concert at Lex- 
ington Theatre with the Russian Sym- 
phony Orchestra, Oct., 1920; numerous 
song recitals in America. Address, 471 
Central Park, West, New York City. 


Yorke, Marcia Evelyn (Narbis), soloist 
(contralto); b. Orland, Me., May 209, 
1866; d. Edward and Laura Crane Nar- 
bis; m. Clarence Yorke; ed. Bucksport 
Seminary; studied with L. B. Cain, Prof. 
Doering and others; soloist in many 
churches in Maine; mem. Rubinstein 
Club, N. Y., and Beethoven Club; for- 
mer mem. Cecilia Club, Choral Art So- 
ciety and Festival Chorus, Augusta. 
Address, 471 Central Park, W., New 
im OLR tt val Neey 


Young, Della Briggs, pianist; b. Auburn, 
Me, Dece 250 18707. d Frank -and 
Millie M. Young; studied with E. W. 
Hanscom; mem. Philharmonic Club of 
Lewiston and Auburn. Vocation, sten- 
ographer. Address, 115 Winter St., Au- 
burn, Me. 


or 


a * 


ee ae ee oe 


A 


Aagerson, Elizabeth, 355 
Abbott, Ada, 332 
Abbott, Alberta, 145, 288 
Abbott, Bertha S., 303 
Abbott, Charles, 111, 192 
Abbott, Charles L., 297 
Abbott, Edna, 287 
Abbott, Harriet V., 25 © 
Abbott, Helen, 226 
Abbott, Dr. Herman, 60 
Abbott, Jacob, 25, 27 
Abbott, John, 38 
Abbott, Rev. J. S. C., 25 
Abbott, Mrs. Madine, 293 
Abbott, Margaret, 227 
Abbott, Mrs. Melinda K., 191 
Abbott, Mrs. Sarah R., 251 
Abbott, Mrs. W. F., 192 
Abbott, Mrs. Willis M., 294 
Abbott, Willis P., 297 
Achenbach, Mrs. S. T., 249 
Achison, Mamie, 297 
Achorn, Fern I[., 288 
Achorn, Mrs. M. A., 102 
Adams, A. Eloise, 145 
Adams, Mrs. Bertram, 145 
Adams, B. E., 333 
Adams, Carrie, 304 
Adams, Charles R., 175, 309 
Adams, Eleanor, 145 
Adams, E. C., 178, 179, 281 
Adams, Mrs. E. J., 190 
Adams, Frank F., 273 
Adams, Fred W., 178, 282, 283 
Adams, Harley R., 224 
Adams, Hattie N., 159, 164 
Adams, Helen, 287 
Adams, Henry D., 281 
Adams, Rev. J. M., 224 
Adams, Lydia, 280 
Adams, Margaret, 222 
Adams, Silas N., 224 
Adams, T. J., 59, 120, 188, 190 
Additon, C. H., 90 
Additon, G. G., 90, 154, 191 
Additon, Mrs. J. H., 203 
Additon, J. S., 191 
Additon, L. W., 111 
Adell, M. Louise, 355 
Akely, Mrs. Carl, 145 
Akers, Mrs. George J., 146, 225, 
274, 308 
Akers, Sally F., 227 


BIOGRAPHICAL INDEX 


Akkerson, Hattie, 192 

Albee, Sybil, 293 

Albling, Sadie F., 147, 355 

Alden, Mrs. Austin, 289 

Alden, Bert, 340 

Alden, Mrs. Frank W., 304 

Alden, H. R., 224 

Alden, Dr. J. P., 60 

Alden, Mrs. J. P., 61 

Alden, O. F., 340 

Alden, Priscilla, 312 

Alden, Zilpha May, 355 

Aldrich, Mrs. Madeline, 298 

Alexander, Mrs. Addie, 286 

Alexander, Mrs. Holman, 286 

Alford, Mrs. Lena B., 293 

Allen, Agnes E., 186 

Allen, Alice M., 145 

Allen, Annie, 164 

Allen, Mrs. Arthur A., 263 

Allen, Blanche V., 355 

Allen, Camp Meeting John, 
181, 229 

Allen, Caroline, 222, 280, 355 

Allen, Charles A., 153, 185, 
186 

Allen, Mrs. Effie S., 355 

Allen, Mrs. Ella R., 274, 275 

Allen, Mrs. Elizabeth, 186 

Allen, Elizabeth C., 142, 148 

Allen, Elizabeth M., 164 

Allen, Fannie, 191 

Allen, Florence I., 355 

Allen, Frank C., 268, 326, 355 

Allen, Mrs. Frank E., 141, 142, 
143, 148 

Allen, Mrs. Fred, 145 

Allen. Hannah, 104 

Allen, Mrs. Helen M., 142 

Allen, Mrs. Helen P., 120, 123 

Allen, Isabelle, 294 

Allen, Mrs. Jerry, 356 

Allen, Rev. John, 181, 229 

Allen, Lucy M., 181 

Allen, Rev. Lorenzo B., 202 

Allen, Mark E., 352, 353 

Allen, Mary, 290 

Allen, Mrs. William, 119, 294 

Allen, William C., 222, 229, 


356 
Ames, Alfred K., 223, 356 
Ames, Mrs. Alfred K., 226, 356 
Ames, Mrs. Ethel W., 226, 356 
Ames, Frank S., 223, 224, 225, 


227, 356 
479 


Ames, John K., 286 

Ames, Lucy S., 206 

Ames, Mabelle G., 284 

Ames, Morrill H., 327, 356 

Ames, Nellie H., 226, 356 

Ames, Robert, 348 

Ames, Roy, 354 

Ames, Virginia, 299, 356 

Ames, Mrs. Zulietta S., 302 

Amick, Doris, 274 

Among, Prof. A. J., 172 

Anderson, Mrs. E. S., 145 

Anderson, Mrs. Frances Drink- 
water, 356 

Anderson, Mrs George, 225 

Anderson, Henry W., 352 

Anderson, Hope, 287 

Anderson, Jacob, Jr., 342 

Anderson, Mrs. Jane W., 142 

Anderson, John H., 343 

Anderson, Mary P., 145 

Anderson, Robert D., 356 

Anderson, Walter T., 352 

Andrews, Mrs. A. M., 224 

Andrews, Clara, 356 

Andrews, E., 338 

Andrews, Mrs. George, 
143, 148 

Andrews, Henry E., 286 

Andrews, Julia M., 145 

Andrews, Mary E., 226 

Andrews, Melville H., 114, 176, 
178, 179, 279, 280, 281, 283, 

8 


142, 


33 
Andrews, Miriam B., 145, 289, 

313, 356 
Andrews, Mrs. Percy, 146 
Andrews, Mrs. Sarah J., 189 
Andrews, William, 324 
Angell, Mary F., 297 
Angley, Margaret, 280 
Annis, Mrs. Mildred, 298 
Anthoine, Amy, 145 
Anthony, Aline E., 356 
Anthony, Mrs. A. W., 293 
Applebee, Frank, 350 
Applebee, Marjorie, 149 
Apthorp, William F., 134 
Apworth, Frances W., 25 
Arbour, Joseph E., 356 
Archibald, Annie L., 356 
Archibald, Bernard, 356 
Archibald, Mabel, 263° 
Arey, Harold, 354 
Arey, Leon, 354 
Arey, Ralph E., 224 


480 BIOGRAPHICAL INDEX 


Arey, R. Mont, 356 
Armstrong, Esther, 284 
Armstrong, Grace, 301, 356 
Armstrong, Inez rE blyA bane 5 
248, 317, 356 
Armstrong, J. Pe252556 
Armstrong, Louise H. , 145, 148, 
222, 274, 308, 356 
Armstrong, Mollie, 149 
Armstrong, Mrs. Molly M., 356 
Armstrong, William, 243 
Armstrong, Mrs. W. H., 357 
Arnold, Bertha, 305 
Arnold, Sas S02 37 
Arnold, JA, 
Arnold, William, sey 
Arris, Mrs. Harold, 294, 357 
Arris, Lois G., 357 
Arsenault, Mrs. Alyre J., 2 
Artenzen, Charles, 334 
Ashby, Thompson E., 286 
Asselin, Aime, 291 
Atherton, Mrs. Lilla, 225, 357 
Atherton, Myles, 226, ane 
Atherton, Mrs. Myles i M., 317 
Atherton, Percy L., 134 
Athurson, A., 78, 81 
Atkins, Minnie, 182 
Atkins, Miss M. R., 191 
Atkins, William J., 64. 346 
Attridge, Gertrude, 290 
Atwater, E. Mildred, 288 
Atwood, Arthur L., 283, 340 
Atwood, Frank res 222, 224; 


227, 357 
Atwood, Mrs. Frank R., 


357 
Atwood, R. E., 224, 297 
Atwood, Vesta, 151 
Atwood, W. P., 297 
Aubrey, E., 159 
Aubrey, J. E., 159 
Audet, Gedeon, 316 
Auger, A. ‘L., 357 
Austin, Mrs. Mabel, 197 
Averill, Mrs. Albert E., 


223, 


357 
Averill, Mrs. Louise, 223, 226, 


357 
Averill, Mrs. Nettie B., 302 
Averill, Sherman, 349 
Averill, Mrs. Verna L., 288 
Aviglianna, Mlle. Giovanna, 357 
Axelsen, Edmund A., 261, 357 
Ayer, Mrs. NPR espa is 180, 279 
Ayer, Mrs. O. A., 187 
Ayer, W. E., 225 
Ayers, Della, 203, 263 
Ayers, Mrs. Harriet F. Sly is Peg és 
165 
fee Mes. J. B., 279 


B 


Babb, Edwin, 348 

Babb, Elizabeth, 263 

Babb, Fred W., 352, 353 

Babb, Harland P., 352, 353 

Babb, Howard, 351, 462, 2355 

Babbidge, Mrs. Carrie S.,. 182 

Babcock, D. M., 190 

Babcock, Ellen, i145 

Bachelder, L. A., 159 

Bachelin, Mrs. Joseph, 357 

Bacheller, Willis E., 199 

Backus, H., 338, 333 

pays Rt. Rev. David W., 
162 

Bacon, Harry, 272, 334, 357 

Baermann, Carl, 139, 183 

Bagley, Mrs. Alice P., 357 

Bagley, Harriet, 52 

Bagley, Sarah F., 357 

Bailey, Mrs. Arthur, 274, 357 

Bailey, Bessie, 222, 278, 284, 


357 
Bailey, Mrs. E. H., 191 
Bailey, E. Merle, 283 
Bailey, Frances Be 283 
Bailey, Frank M., 297 
Bailey, James, 78 
Bailev, Richard T., 342 
Bailey, Mrs. Tabor, 278, 284, 


357 
Bain, Helen, 145 
Bain, James, 263, 334 
Baird, Mildred L., 357 
Bakeman, Helen, 306, 321, 
357 
Baker, Benjamin F., 89, 90, 93, 
116, 181 
Baker, Charles E., 
Baker, Charles, 341 
Baker, Mrs. Charles, 146, 274 
Baker, Mrs. Edgar S., 280 
Baker, Helen, 289 
Baker, Mrs. H. L., 120 
Baker, Hilda, 147, 357 
Baker, Laura, 306 
Baker, Leroy L., 354 
Baker, Mrs. M. L., 203, 263 
Baker, Parmelia, 52, 56 
Baker, Percy F., 260 
Baker, Richard M., 
357 
Baker, Ruth, 280 
Baker, Rev. William C., 357 
Baldwin, Ada, 241 
Baldwin, Annie, 243 
Baldwin, Rev. A. K., 225 
Baldwin, Clinton D., 284, 358 
Baldwin, Mrs. Emma, 306 
Baldwin, Rev. Frank E., 251 


155, 357 


255, 258, 


- Barker, Daphine, 289 


’ Barney, Mrs. 


Baldwin, Mrs. Jennie, 290 


Baldwin, Louise N., 188, 191, . 
358 

Ball, Erastus, 197 

Ball, Mary ES 197, 358 


Sue Charmanatta P. Aaa | 


Baltard, Levi W., 89, 189 
Bancroft, Jacob oe 253 
Bangs, Josiah, 275 

Bangs, Ruth, 286 

Banks, Beatrice, 145 

Banks, Constance, 145 
Banks, Mrs. Frank, 358 | 
Banks, Mrs. F. P., 280, 284 
Banks, Mrs. Frederick W., 


147 
Baraket, Jamil, 305 
Barber, Beatrice, 145 
Barbour, Albert L., 353 
Barbour, Charles, 155 
Barbour, Ina, 145 
Barbour, Joseph, 187 
Barker, Claire, 306 


Barker, Ellen J., 142 
Barker, Georgia, 358 
Barker, Grace W., 297 
Barker, John, 191 % 
Barker, Miss L., 190 = 
Barker, Nellie, 159, 163, ae F 
Barker, Rut W. 290, 358 ; 
Barker, William, 181 
Barnabee, Henry C., 
Barnard, Hazel, 194 
Barnard, Herbert W., Jr., 119, 
120, 171; 256, 260, 263,-2 
268, 272, 306, 358 
Barnes, Annie M., 290, 358 
Barnes, Charlotte, 358 
Barnes, Edmund, 342 
Barnes, Mrs. Elsie, 303 
Barnes, Mrs. Grace, 293 
Barnes, Mrs. Harriet, 303 
Barnes, Helen M., 358 
Barnes, L. B., 210 3 
Barnes, Mrs. M. D., 222, 358 — 
Barnes, Samuel N., 256, 259, 


358 
Barnett, Mrs. Floyd L., 359 — 
Barney, Lou D., 227, 239 ; 
G. Mortimer, ~ 


181, 207 


145, 359 
Barnlund, A. W., 313 
Barnum, Grace H., 227, 359 
Barnum, S. C., 162 
Baron, Harry M., 296, 359 
Barr, Annie L., 294 — 

Barr, Mrs. Edith, 293 
Barraclough, Herbert, 303 
Barraclough, Homer, 303 


™ 


les 


—_s"- 


. Barrett, Lew L., 


BEOGRAPHICAL INDEX 


481 


Barrell, Charles H., 190 

Barrell, Mrs. ar A esO7 

Barrett, EO. 

Barrett, Mrs. Franidin, 142 

Barrett, Mrs. Joseph, 89 

L., 286, 336, 359 

Barrows, Benjamin, 340 

Barrows, Mrs. Charles D., 145, 
148 

Barrows, Ellen, 89 

Barrows, Mrs. ‘Geneva, 303 


Barrows, George W. E., 176 

Barry, Flora, $V4 CLR 2) TS3, 
176, 219, 247 

Barstow, Annie G., 184 

Bartlett, Alena, 145 

Bartlett, Belle, 120, 156, 164, 


203, 263 
Bartlett, Benjamin D., 61 
Bartlett, Charles, 194 
Bartlett, Mrs. Charles, 295, 359 
Bartlett, Fayette, 66 
Bartlett, James C., 114, 178, 
359 : 
Bartlett, Mrs. Louise, 293 
Bartlett, Mary A., 52, 56 
Bartlett, Mary W., 278 
Bartlett, Nellie, 297 
Bartlett, Pricilla Hi.-s2, 56 
Bartlett, Vera, 359 
Bartol, Horace Hise? S, 02 
Barton, Fred, 349 
Barton, Llewellyn, 359 
Bass, Albert E.., 227, 359 
Bass, Annie, 278 
Bass, Hiram, 100 
Bass, Mrs. 16 R..:225,-359 
Bass, Mrs. W. S., 226, 359 
Bassford, Helene, 226 
Batchelder, Lyman A., 158, 160 
Bates, Alice, 22%, 350 
Bates, Emily, 223, 359 
Bates, Georgie, 263 
Bates, H. D., 224, 304 
Bates, James L., 277 
Bates, John D.., 3 59 
Bates, Martha C. S 
Bates, Mary, 145 
Bates, Solomon W., 225, 311 
Battles, Rev. A., 115, 179 
Baumann, Carl o 283, 340 
Baumann, Estelle, 283 
Baumann, Frederick W., 
340 
Baxter, Mrs. 
286 
Baxter, Emily P., 263, 310 
Baxter, Mrs. Hartley C., 328 
Baxter, James P., 310 
Baxter, Mehetable C., 310 
Baxter, Percival P., 310, 359 


+ 359 


283, 


Constance F., 


Beach, Maybelle, 286 ° 

Beal, E. S., 334 

Beal, F. O., BAT 329 224: 

Beale, Harriet, 77 

Beale, W. on 225 

Beals, George, 335 

Beals, Thomas B., 198 

Bean, Mrs. Clarence W., 280 

Bean, Elizabeth, 101 

Bean, Mrs. Ella B., 274 

Bean, Rev. E., 185 

Bean, George, 349 

Bean, Mrs. Gladys M., 
360 

Bean, J. Hastings, 225 

Bean, Maud M., 283 

Bean, Mrs. T. W., 186 

Bean, Warren, 350 

Beane, Lena, 226 

Beane, Robert E., 277, 360 

Bearce, Hazel, 293 

Bearce, Julia, 292 

Bearce, Lillian, 297 

Beardsworth, Nellie, 360 

Beatty, William, 187 

Beaubier, Christabel, 294 

Beaucage, Adelard, 261 

Beauchaine, William J., 277, 
360 

Beier Arthur J., 360 

Beaumont, George, I9I 

Beauparlant, Emile J., 360 

Beaupre, Arthur, 227 

Beck, Mrs. Evelyn T., 
360 

Beck, Stella G., 360 

Beckett, E. B., 161 

Beckett, Martha, 52, 56 

Beckett, William C., 74, 77 

Beckett, William S., 120, 154, 
164, 311 

Beckwith, Leon, 194 

Beckwith, Mrs. Leon, 194, 226 

Bedell, Charlotte, 192 

Bedell, Edna, 194 

Bedell, Helen, 192 

Bedlow, Mrs. Charles, 274, 275 

Beebee, Helen, 225 

Beecher, Mrs. Charles L., 275 

Beethoven, 34, 83 

Beique, Prof. A., 190 

Belanger, Charles Eugene, 360 

Belanger, Joseph O., 286, 297, 
342, 360 

Belanger, Mrs. Joseph O., 295, 
360 

Belcher, Hiram, 97 

Belcher, Supply, 20, 225 97 

Belchner, Adele, 150 

Belinian, Asneve A., 361 

Beliveau, Adrienne, 295 


260, 


304, 


Bell, Mrs. Leah, 361 

Belleau, Adrienne, 295, 361 

Belleau, Blanche E., 294, 295, 
361 

Bale Eglantine, 294 

Bemis, "Annie, 289 

Benner, Hugh, 303 

Benner, Mrs. Maryon W., 301, 
302 

Benner, Mrs. N. W., 294 

Bennett, Edith, 226 

Bennett, Mary, 226, 306, 361 

Bennett, Mildred, 145, 321, 361 

Bennett, William, 297 

Bennett, William F., 200 

Bennison, Sarah, 151 

Benson, Elizabeth, 287 

Benson, Florence, 189 

Benson, Capt. Peleg, 198 

Beote, John J., 353 

Berg, T. Vanden, 111 

Bergeron, Lucien, 291 

Bernard, Juliette, 296 

Bernard, Manual, 361 

Bernard, Wilfrid, 350 

Bernauer, Francis S.. 361 

Bernier, Adrienne, 286 

Bernier, Sam, 342 

Bernstein, Lillian, 145 

Bernstein, Minna, 145 


Berrie, Mrs. Dora L., 290, 361 
Berry, Alonzo L., 191 
Berry, Edward, 183 
Berry, Edward F., 222, 224, 
361 
Berrys Mirsieigs) FL 222,228; 
226, 308 
, Ethel, 258, 273, 275, 


Berry, Faith G., 301, 302, 361 
Berry, Fannie G., 145 
Berry, George, 342 


Berry, Mrs. George D., 224, 
285 

Berry, Gertrude E., 145, 263, 
273, 361 

Bary, Mrs. “Harold L.. 145, 
301 | 

Berry; ira; 252, 55,88; 148; 


Berry, Mabel E., 277 

Berry, Mary, 102 

Oo EE 67 

. Rosa, 180, 279, 280 

Berry, Sarah C., 180 

Berry, W. P., 277, 361 

Berryman, Mrs. Mabel M., 260, 
274, 361 

Berube, George, 296 

Besaw, Edward, 349 

Best, Miriam, 276, 308, 361 


482 BIOGRAPHICAL INDEX 


Bete, Minna, 200 
Beverage, Mrs. Lottie H., pe 
saan Mrs. Abbie M., 195, 


Bare Bessie W., 297, nth 

Biard, Rev. Peter, 4, 5 

Bibber, Frank Es 155 

Bibber, Mrs. Frank C., 
362 

Bibber, Mrs. Leon, 146 

Bickford, E. F., 285 

Bickford, F. E 156 

Bicknell, Mrs. Elizabeth, 293 

Bicknell, Mrs. Lorita K., 301, 
302 

Bigelow, Levi E., 184 

Bigelow, Mrs. Marcia, 184 

Bigelow, O. P., 100 

Billings, Alice, 226 

Billings, Leonard, 52, 54 

Billings, William, 19, 195 

Bingham, Albert, 61 

Binnette, Joseph, 342 

Binnette, Ludger, 342 

Bird, Ada, 182 

Bird, A. J., 182 

Bird, Mrs. Benjamin, 288 

Bird, Bertha I., 193 

Bird, Dora F., 301, 
362 

Bird, Dorothy, 302 

Bird, Emma, 182 

Bird, Harriet, 182, 303 

Bird, Helen, 302 

Bird, Mrs. Madeline F., 145 

Bird, Maria T., 300, 301, 303, 
362 

Bird, Mary, 182, 300, 302 

Bird, Mrs. Maynard, 147, 263 

Bird, Nettie E., 302 

Birkenmayer, Helen, 145 

Birnie, Mrs. Gladys S., 
263, 362 

Birnier, Wesley, 90 

Bisbee, Roy, 348 

Biscacciante, Signora, 58, 204 

Bishop, Agnes, 288 

Bishop, Charlotte C., 

Bishop, Cyrus, 110 

Bitter, Mrs. L. J., 292, 297 

Bixby, George, 33 

Black, H. B., 304 

Black, Zebulon, 78 

Blackington, Ada, 


145, 


302, 303, 


260, 


290, 362 


182, 183, 
301 
Blackington, Ruth, 302 
Blackington, Thelma, 303 
Blackman, Cyrus, 349 
Blackman, Eben, 196 
Blackman, Elisha, 349 
Blackmer, Mavorette E., 2 


Blackwell, Charles H., 
258, 263, 273, 362 
Blackwell, Henrietta, 285 
Blair, Lyman, 227, 362 
Blaisdell, Carrie J., 187 
Blaisdell, E. S., 102 
Blaisdell, Inez D., 

362 
Blaisdell, Nellie, 115 
Blaisdell, Nicholas, 35 
Blake, Charles L., 352 
Blake, Cornelia S., 362 
Blake, Edith R., 362 
Blake, Francis, 117, 118, 119 
Blake, Mrs. Francis, 119 
Blake, Helen P., 362 
Blake, Mrs. John, 145 
Blake, R. C., 191 
Blanchard, Alden O., 273 
Blanchard, Alice B., 120, 145 
Blanchard, Charles C., 253, 


272 

Blanchard, Mrs. Clara, 
164 

Blanchard, David D., 342 

Blanchard, D. L., 343 

Blanchard, Edna, 305 _ 

Blanchard, Edward G., 


343, 362 
Blanchard, Ella, 185 


255, 257, 


149, 263, 


II9, 


334, 


Blanchard, Enos, 185, 225, 332, 


334. 343, 352 
Blanchard, Everett L., 343 
Blanchard, F. L., 188 
Blanchard, Fenwick S., 343 
Blanchard, F. W., 343 
Blanchard, George, 343 
Blanchard, Homer, 343 
Blanchard, Lucile, 305 
Blanchard, Lucy N., 119, 145, 

148, 362 
Blanchard, Mrs. M. E., 77 
Blanchard, Mary, 165 
Blanchard, Nathaniel, 255, 352 
Blanchard, Roland H., 343 
Blanchard, Walter E., 343 
Blanchard. William F., 343 
Blanche, Hattie, 290 
Blanchette, Jeanette, 362 
Blanding, Carrie, 191 . 
Blasl, Edward, 349 
Bliss, Alfred V., 362 
Bliss, Mrs. Catherine, 293 
Blodgett, Ellen, 263, 274, 362 
Blood, Mrs. Caroline, 303 
Blood, Charles V., 362 
Bloom, Robert, 296 
Blouin, Exilia, 291, 

297, 363 
Blumenthal, Samuel, 272 
Blunt, John, 460 


293, 294, 


- Bonfillio, Helen, 363 


Boardman, Mrs. Elizabeth C., 
223, 363 2 
Boardman, Harold S., 227, 163 
Boardman, James, 191 . 
Boardman, 5. He aes, 279, 
281 
Bock, Anna C., 145, 274, 275, 
308, 363 
Bodge, Miss E. M., 190 
Bodge, Gertrude, 249 
Bodge, Percival, 255 
Bodge, William, 333 . 
Bodin, Mrs. Louis, 146 | 
Bodwell, Mrs. R. H., 276, 363 
Boggs, Frank jee 351 3 
Boggs, Fred G.. 351 
Boggs, Walter H., 351, 363 
Boise, Margret, 296 
Boisvert, Blanche R., 363 
Bolduc, Frank, 294, 342 
Bolster, Mabel Owen, 363 
Bolter, Mary, 290 
Bolton, Laura, 226, 363 
Bolton, Rev. H. W., 115 
Bond, Alice, 279 a 
Bond, Mrs. George, 284, 363 
Bond, Mrs. Thomas, 27 2 


De ee 4 


Bonney, Helen, 145, 363 
Bonney, Mrs. Katharine, 260: 4 
Bonney, Luther, 255, 258, 363 
Bonney, Mrs. Susan, 260, 363° @ 
Bonsey, May, 223, 226, 363 
Booker, Mrs. Anna P., 194, — 
260, 274, 363 7 
Booker, Margaret, 298 
Boone, Mrs. Storer, 299 
Booth, Wilfred, 334 4 
Boothby, Mrs. Alfred M., 363 _ 
Boothby, Mrs. Charles, 308 i 
Boothby, Mrs. Chase ’A., 289 
Boothby, Elmer, 159 a 
Boothby, Emma, 187 
Boothby, Mrs. Ethel ae 363 
Boothby, Hon. F. E., 224 
Boothby, Mrs. F. E:, 224, 2514 
304, 310 
Boothby, Ls. D5 -240 
Boothby, Margaret. 289, 306 
Boothby, Hon. Roswell C., 187, — 
198, 225. 354 
Boothby, Richard C., 351 
Borden, Mrs. Rose A., 225, 
276: Bae ese 
Borland, Mrs. John, 184 
Bosworth, Arthur S., 268 
Bosworth, Reuben E., 316 1 
Bouchard, Mrs. Elizabeth, 287 
Boucher, Ralph A., 364 
Boulette, Joseph T., 364 
Boulter, R. S., 191 


iy 


BIOGRAPHICAL INDEX 


Bounton, Ralph, 316 

Bourke, Charles E., 255, 364 

Bourne, Dr., 49 

Bourne, S., 159 

Bousquet, Olivine A., 286 

Boutin, Phelonise, 284, 364 

Bowden, A. C., 224 

Bowden, Blanche, 284 

Bowditch, Mrs. H. E., 276 

Bowdoin, Frank A., 272, 273 

Bowdoin, Millard, 227, 260 

Bowdoin, Rosabelle, 364 

Bowen, Charles H., 159 

Bowen, Martha Edith, 283, 364 

Bowen, Linwood J., 283, 340 

Bowen, Mrs. William S., 145 

Bower, George A., 297 

Bowers, Mrs. John W., 119, 
145, 171, 364 

Bowker, Mrs. Hazel Shaw, 
305, 364 

Bowles, Frank, 350 

Bowles, Henry I., 225 

Box, Ethel Wentworth, 364 

Box, Harry, 308, 364 

Boyd, George E., 178, 179 

Boyd, Mrs. Lendell, 261 

Boyd, M. W., 89 

Boyd, Mandeville, 350 

Boyd, Mrs. Manlius W., 364 

Boyd, Mrs. Marie, 89 

Boyd, Mary D., 142 

Boyd, William L.; 337 

Boynton, Mrs. Alice, 364 

Boynton, Mrs. C. Everett, 145, 
259, 263 

Boynton, Mrs. Florence W., 


364 
Brackett, Ellie L., 164 
Brackett, HD... -352 
Brackett, Roberta, 286 
Brackett, Rowena, 364 
Brackett, Mrs. Wade, 222 
Bradbury, A. C., 350 
Bradbury, A. P., 98 
Bradbury, Benjamin F., 113 
Bradbury, E. G., 108 
Bradbury, Mrs. Helen, 293 


Bradbury, Helen L., 147, 308 


Bradbury, Martha, 1o1 

Bradbury, William B., 108, 116 

Bradford, Alice L., 145 

Bradford, Carrie Mae, 
364 

Bradford, Clara Walker, 364 

Bradford, Edith, 227, 279, 309, 


364 
Bradford, F. L., 334 
Bradford, Mrs. Maude, 364 
Bradish, W. F., 224 
Bradley, Etta Swett, 103, 364 


276, 


Bradley, James E., 353 

Bradley, William, 62 

Bradley, William V., 259, 261, 
273, 365 

Bradstreet, George, 199 

Bragdon, Mrs. Frank J., 146, 
Pen 227, Ob. 3100. 466 

Bragdon, Marguerite, 365 

Bragdon, Orrie D., 249 

Bragg, Addison, 349 

Bragg, Franklin E., 227, 365 


Bragg, Ina Mae, 365 

Brace, MirsiN.-E., 176, 278, 
280 

Bragg, Olive, 365 

Bragg, Mrs. Willard L., 178, 


279 
Brailey, Glendon, 350 
Brainerd, Mrs. Lawrence, 146 
Brandon, Mrs. Grace H., 366 
Brann, Edward, 366 
Brann, Mrs. Ethel F., 366 
Brann, Robert, 305 
Branscomb, Mrs. E. D., 77 
Branton, Angelica, 64 
Bratt, Gustav W., 258, 259, 

263, 366 
Brault, Celia, 302 
Braun, Cora W., 290, 366 
Bray, Mrs. Irene, 298 
Bray, James, 184 
Bray, J. D., 90 
Bray, Mrs. Mary A., 184 
Bray, Oliver, 35 
Bray, Mrs. Paul, 298 
Bray, Mrs. Sanford, 146 
Brazier, Carleen Merle, 366 
Brazier, Harriet P., 145 
Brazier, Mary M., 74, 77 
Breary, Alice M., 366 
Breary, Gordon, 366 
Breed, Mrs. Berle Walton, 309 
Breitling, Joseph C., 226 
Bremon, Mrs. E. Eugene, 274, 

366 
Bremon, Florence Alsena V., 

145, 260, 263, 274, 275, 366 
Brennick, Helena A., 366 
Breton, Octave, 366 
Brett, C. B., 89 
Brewer, Arthur Roland, 366 
Brewer, David, 52, 56 
Brewer, Dexter, 52, 55 
Brewster, Elder, 205 
Brickett, Mrs. George E., 226 
Brickett, Mrs. George H., 264, 

276 
Brickett, Nellie Letice, 

366 
Bridge, E. L., 161 
Bridge, Harry, 255 


303, 


483 


Bridges, Mrs. Adelbert, 284, 
366 

Bridgham, Mrs. Fannie, 226 

Bridgham, Nellie E., 198 

Brier, ‘Katherine, 194, 305 

Briggs, Abial, 35 

Briggs, Charles S., 273 

Briggs, Mrs. Charles, 145, 262 

Briggs, Mrs. Cora S., 161, 225, 
226, 303, 366 

Briggs, Mrs. E. M., 294 

Briggs, George, 161, 203, 263 

Briggs, Mrs. Ida, 303 

Briggs, Josephine, 305 

Briggs, Lizzie P., 203 

Briggs, Mrs. Ruby, 321, 366 

Briggs, Samuel, 303 

Briggs, Mrs. Sarah M., 287 

Bright, Joseph M., 178, 222, 


277 
Bright, Mrs. Joseph M., 178, 
222 
Bright, June Lowell, 308, 367 
Brine, Leon F., 120, 178 
Brinkler, Alfred, 255, 256, 257, 
258, 263, 264, 273, 367 
Brinkler, Mrs. Alfred, 
258, 259, 367 
Bristol, Fred E., 367 
Broadman, Samuel H., 178 
Brockway, H. A., 111 
Brooks, Albert W., 276 
Brooks, Aldana, 272, 367 
Brooks, Charles M., 159, 222, 


145, 


334, 367 
Brooks, Clarence C., 309 
Brooks, Joseph, 79 
Brooks, Laura Emelyn, 303, 
367 
Brooks, Marguerite, 276 
Brooks, William Grant, 193, 


313 
Brower, Mrs. Bloomfield, 142 
Brown, Alice, 120 
Brown, A. E., 159 
Brown, Arthur Irving, 341 
Brown, B. F., 333 
Brown, Carl, 256, 335 
Brown, Mrs. Charles, 276 
Brown, Clarence H., 254 
Brown, Cora, 367 
Brow dor (sla 07 
Brown, Mrs. Edna Cobb, 222 
Brown, Edwin, 349 
Brown, Mrs. Effie, 305 
Brown, Elizabeth, 156, 

274, 275, 308, 367 
Brown, Elmer, 347 
Brown, Mrs. E. M., 145 
Brown, Mrs. Emily K., 141, 

142, 143, 148 


164, 


484 


Brown, Evelyn Lord, 297, 367 

Brown, Frances Gertrude, 367 

Brown, Francis, 35 

Brown, Frank, 327 

Brown, Mrs. Frederick B., 
368 

Brown, G. E., 333 

Brown, Gail Ridgway, 368 

Brown, George J., 347, 348, 
349 

Brown, 

Brown, 
278 

Brown, Mrs. Glenroy, 298, 368 

Brown, Capt. G. W., 101, 181, 
345 

Brown, Grace Hayford, 368 


George M., 114 
Mrs. George M., 180, 


Brown, Helen C., 226, 305, 
306 

Brower Helen Neven, 368 

Brown, Ida F., 284 


Brown, q. Appleton, 133 
Brown, James Olcott, 143 
Brown, Dr. Joseph, 303 


Brown, Mrs. Joseph E., 284, 
368 

Brown, Lewis Ronello, 272, 
368 


Brown, Lizzie, 196 
Brown, Louise S., 145 
Brown, Mabelle S., 302 
Brown, Mrs. Maida, 150 
Brown, Mrs. Merle S., 
368 
Brown, Minnie, 180 
Brown, Mrs. Philip, 146 
Brown, Robert, 334 
Brown, Mrs. Ruth, 368 
Brown, Sally Carroll, 145 
Brown, Vernon, 272 
Brown, Violetta, 145 
Brown, Walter N,, 226 
Brown, William Bourne, 203, 


368 
Brown, William E., 


260, 


76, 281, 


283 
Brown, Zilda Jennings, 368 
Browne, Mrs. Charles S., 369 
Browne, Mrs. Edna T., 302, 
369 
Browne, Mrs. Rachel S., 302 
Bruce, Edwin, 207 
Bruce, Mrs. Laura M., 298 
Brunell, Roger, 254 
Brunnelle, Arthur, 296, 369 
Bruns, George H., 341 
Bruns, S. H., 334 
Bryant, Beatrice E., 
253, 369 
Bryant; Cart bp. 927 
Bryant, Homer C., 297 


145, 150, 


‘ BIOGRAPHICAL INDEX 


Bryant, Margaret, 120, 
156, -180, 164; 222; 469 
Bryant, Mary, 52, 56 
Buck, Mrs. Austin, 288, 369 
Buck, Cite sie 
Buck, Dudley, 126 
Buck, Eleanor Barrett, 369 
Buck, Mrs. Grace Ross, 180 
Buck, Mrs. Mona, 69 
Buck, Rufus, 61 
Buckley, Abbie A., 
369 
Buckley, Josephine, 285 
Buckman, Alice, 178 
Buckman, Arthur, 369 
Buckman, Mrs. Arthur, 
369 
Budway, Nelson J., 340 
Bulfinch, Rev. J. J., 153, 184 
Bumpus, Fred I. 296, 329, 
340 
Bumpus, M. Cora, 191 
Bunker, Herbert, 285 
Bunker, Willis, 179 
Bunton, George A. 369 
Burbank, Annie, 185, 200 
Burbank, Dr. Augustus H., 
200 
Burbank, Emily, 369 
Burbank, Esther, 200 
Burbank, Grace, 222 
Burbank, Lizzie A., 191 
Burgess, Albert A., 348 
Burgess, Edith, 194 
Burgess, Eliza, 187, 190 
Burgess, Ferdinand F., 
_ 369 
Burgess, George C., 


145, 


293, 297, 


263, 


347; 


119, 120 


Burgess, George W., 341 


Burgess, Romanzo, 348 

Burke, Carrie B., 222 

Burke, Frank, 351 

Burke, Gertrude, 294, 369 

Burke, Howard T., 351 

Burke, John Oakes, 119, 155, 
255, 256, 263, 272, 273, 369 

Burke, Mrs. Laura, 303 

Burke, Lawrence M., 369 

Burke, Miriam, 145, 226 

pene Prudence M., 149, 256, 
309 

Burke, Ruth M., 308, 369 

Burkett, George William, 341 

Burleigh, Catherine C., 369 

Burleigh, Mrs. E. C., 276 

Burnett, Prof. Charles . 286, 

314 

Bunce Mrs. Charles T.,.147, 
286, 308 

Burnett, Sue Winchell, 286, 369 

Burnham, Arline, 147, 274, 370 


- Burpee, John, 346 


Burnham, C. G., 161 
Burnham, Edith, 370 i 
Burnham, Frank, 158, 159, 161, — 
172, 222, 344, 370 a 
Burnham, Mrs. George, 370 
Burnham, Harold H., 249 
Burnham, Harriet, 145 
Burnham, Mrs. J. H., 222 
Burnham, Mabel Bates, 120, — 
142, 151, 252.7 1o ee 
Burnham, Marion, 293 
Burnham, Mildred, 305, 370 
Burnham, Myrtle A. 249, 305 
Burnham, Nettie, 199 4 
Burnham, Otto, 151, 152 
Burnham, Mrs. Rosa, 306 
Burnham, Ruth T., 248 
Burnham, Silas H., 161 
Burnham, Mrs. Stella, 303 j 
Burns, Leroy M., 255, 258,370 © 
Burns, Mrs. Oscar, 222, 370 
Burns, Mrs. Robert, 145 
Burpee, Caroline N., 142 
Burpee, Carrie, 181, 300 
Burpee, Capt. E. A., 181, 182, 
225, 300, 346 
Burpee, Emma, 300 


Burpee, Mary G., 290, 321, ~ 

370 a 

Burpee, N. A., 182, 345, 346 

Burr GC, Gy ate 

Burr, Mrs. Ella, 298 

Burr, Howard, 370 4 

Burr, Mary Rosamond, 298, — 
321, 370 a 

Burrage, Henry S., 203 

Burrill, Elvia M., 222 

Burrill, Frank G., 283, 340 

Burrows, Madeline, 302 

Butler, Augusta, 102 

Butler, Frank, 350 

Butler, Mrs. Hartman, 146 

Butler, Leeman, 350 

Butler, Nathaniel, 202 

Butler, Theresa, 102, 182 

Butman, Anna Elizabeth C., 


370 
Butman, Gladys, 183 
Butman, Mrs. James, 183 * 
Butman, Margaret Elizabeth, 
183, 370 
Butterfield, Margaret A., 285 
Butterfield, Mrs. Philip, "306 a 
Butterfield, Mrs. Wilfred, 184, — 


371 q 
Butterfield, Zilphaetta, 147, 253, _ 

292. 274. 30ne ere . 
Buxton, A! 352 
Buxton, i N., 343 
Buxton, A. W., 343 


PILOGRAPHICAL INDEX 


485 


Buxton, Florence S., 224 
Buxton, Frank W., 161 
Buxton, Gertrude L., 145, 149, 
226, 263, 264, 371 
Buxton, George H., 119, 120 
Buxton, Howard, 185 
Buxton, Violet, 288 
Buxton, William Herbert, 313, 
314, 371 
Buzzell, Grace, 279 
Buzzell, John, 67 
Buzzell, Louise N., 
Buzzell, Marion, 290 
Buzzell, Mary, 298 
Buzzell, Norma, 298, 371 
Buzzell, Vena, 306 
Buzzelle, G. B., 119 
Bye, Christine, 272, 371 
Bye, Eleanore, 272, 371 
Bye, Odele, 272, 371 
Bye; T. F., 371 


290, 371 


8 


Cabot, Edna L., 306, 371 

Cailler, Diane, 294 

Cain, Llewellyn B., 149, 225, 
226, 227, 248, 249, 304, 371 

Cairns, Christopher, 352 : 

Cairns, John, 352 

Cairns, Joseph, Jr., 352 

Cairns, Thomas H., 352, 371 

Cairns, William, 352 

Calden, Mrs. Gladys Leavitt, 
260, 274, 371 

Calder, Arthur E., 351, 371 

Calder, Earl, 354 

Calderwood, Neil, 354 

Calderwood, Reta, 302 

Calderwood, Roger, 335 

Caldwell, John, 371 

Callahan, Frank L., 297 

Callahan, J., 188 

Calane le ho 336 

Callinan, William H., 284, 372 

Calmun, John, 350 

Calvert, Thomas 
144, 150, 189, 372 

Camara, Mrs. Marie, 147, 150, 
253,°972 2. 

Cammett, Abbie, 77, 78, 79, 
80 

Cammett, Harriet N., 117, 123, 
147, 262 

Cammett, John, 78 

Campbell, Mrs. Alice H., 298 

Campbell, Mrs. Carrie A., 226 

Campbell, Mrs. Carroll, 294 

Campbell, F. J., 224 

Campbell, Mary Alice, 372 

Campbell, Mrs. Sarah, 372 


Errington, 


Campbell, Susie, 226 
Caouette, Joseph, 296 
Capen, Eliza Ann, 52, 56 
Card, Elias M., 109 
Card, George, 109 
Card, Nellie, 349 
Card, Otis Norris E., 372 
Carey, Anna C., 145 
Carey, Mrs. Caroline, 286 
Carey, W. H., 346 
Carignan, Valeria, 
272, 372 
Carle, Alice, 159, 164, 200 
Carleton, Ainsworth, 78 
Carleton, Charles A., Jr., 352, 


149, 256, 


353 
Carleton, Charles P., 117, 119, 
157, 159 
Carleton, Charles S., 273 
Carleton, Leola, 372 
Carleton, Ralph B., 353, 372 
Carleton, Robert A., 372 
Carleton, W. R., 160 
Carlin, M. Isabel, 372 
Carll, Grace, 305 
Carll, Wilma Evelyn, 290, 372 
Carlo, R., 336 
Carlow, Ina E., 145 
Carlson, Mrs. Martha E., 286 
Carlton, W. R., 154 
Carmichael, Mrs. Henry, 194 
Caron, Irene, 372 
Caron, Venise Marie, 286, 287, 
372 
Carpenter, Delphine, 372 
Carpenter, G. H., 90 
Carpenter, John Alden, 134 
Carr, Helen Louise, 301, 372 
Carr, Ila, 149, 255, 272, 372 
Carr, James, 31 
Carrier, Louis, 373 
Carritt Mrs. 2, 205, 373 
Carroll, Mrs. Evelyn B., 147, 
149, 260, 273, 308, 373 
Carroll, Rev. Marcus, 225 
Carron, Mrs. A. P., 285 
Carson, Margaret, 293 
Carson, Mary M., 260, 373 
Carson, Zeula Miller, 290, 373 
Carter, Betsey, 52, 56 
Carter, Eleanor, 147 
Carter, Ellinor, 373 
Carter, F. -B., 285 
Carter, Harry: B.) 3215373 
Carter, James, 316 
Carter, Mrs. Mabel, 373 
Carter, Marion, 145, 263 
Carter, Prescott W., 316 
Carter, Sarah, 52, 56 
Carter, Sarah R.P., 142 
Carter, Walter H., 263, 272 


Carter, Willis E., 253, 254, 373 

Carver, David L., 283, Sek 

Carver, Keith, 354 

Cary, Ada, 145 

Cary, Annie Louise, 164, 183, 
1935) 105,;4204 Pt0 1220/2246, 
ye ESO) 

Cary, Mrs. Charlotte C., 197 

Cary, Ellen Maria, 206 

Cary, Emma, 197 

Cary, Mrs. Fred H., 373 

Cary, George F., 224, 263,373 

Cary, Mrs. George F., 197, 
225, 373 

Cary, Joseph Stockbridge, 206, 
247 

Cary, Mrs. Lillian V., 288 

Cary, Marcia Angelia, 206 

Cary, Maria S., 219 

Cary, Nelson Howard, 205, 206, 
219 

Cary, Samuel Edwin, 206, 289 

Cary, Mrs. Samuel Edwin, 289 

Cary, Simeon, 205 

Cary, William Howard, 206 

Casseboom, George H., 342, 


373 
Cassidy, Mrs. John F., 280 
Cassita, Yvette, 294 
Castillo, Madame 
243 
Castner, Ki Gs 951 
Caswell, Elvira J., 275, 373 
Caswell, Martha, 286 
Caswell, Mina H., 373 
Catell, Sadie, 278 
Cates, Frank, 316 
Cates, Mrs. Gertrude, 373 
Cates, Mrs. John M., 286 
Catland, Roscoe, 297 
Cavanaugh, D. 335 
Cayting, A. Stanley, 283, 373 
Chabot, Louise T., 290, 297, 


373 
Chadbourne, Mrs. Alfredda 

Drew, 261, 373 
Chadbourne, Charles A., 261 
Chadbourne, Gladys, 293, 297 
Chadbourne, Paul, 191 
Chadbourne, Mrs. Paul, 192 
Chadbourne, Samuel, 352 
Chadbourne, Mrs. Verna, 293 
Chadwick, George W., 132, 202 
Chadwick, Mrs. Harriet F., 

146, 263 
Chadwick, Julia, 373 
Chadwick, Mrs. Kenneth, 259 
Chaffee, George W., 353, 373 
Chalmers, Grace, 279 
Chaloner, Elisha, 349 
Chamberlain, Dr. A. H., 191 


Imogene, 


486 


Chamberlain, Mrs. Alice S., 
306 
Ciamberata: Mrs. Arthur, 146 
Chamberlain, Edna M., 288 
Chamberlain, I. P., 78 
Chamberlain, William, 27, 159 
Chambers, W. Paris, 344 
Champrosay, L., 65 
Chandler, Benjamin, 190, 297 
Chandler, C. C., 300, 346 
Chandler, D. H., 158, 159, 165, 


173, 330, 331, 332, 333, 334, 


342 
Chandler, Evelyn Parker, 374 
Chandler, Francis M., 120, 145 
Chandler, H. C., 89 
Chandler, Mrs. J. $. 220. 374 
Chandler, L. Jennie, 187 
Chandler, Leafy, 159 
Chandler, Mary Ann, 173 
Chandler, Sarah Dearborn, 198 
Chandler, William, 326 
Chandler, William E., 159, 251, 

334, 335, 351 

haney, Mrs. J. F., 
Channell, Birdena, 


294 
Channell, Harold E., 2 
Chaplin, Mrs. Eugene, 306 
Chapman, Belle, oe 


226 


222, 293, 


Chapman, Mrs. a , 374 

Chapman, E. R., 

Chapman, Frederick Elmer, 
321, 374 


Chapman, Henry L., 224 

Chapman, Jeanie, 249 

Chapman, Lottie, 249 

Chapman, Maria (Decker), 
197 

Chapman, Mary, 280 

Chapman, Mildred L., 
226, 374 

Chapman, S. H., 102 

Chapman, William Rogers, 220, 
221, 223, 227, 308, 313, 374 

Chapman, Mrs. William Rogers, 
221. 223 

Chapman, Winifred, 349 

Chappelle, Rev. T. E., 225 

Chase, Mrs. Anna, 293 

Chase, Annie P., 374 

Chase, Mrs. Bernard A., 295, 
308 

Chase Bertha, 297 

Chase, C..C.,- 207 

Chase, Caroline Fenno, 
277, 374 

Chase, Charles C., 225 

Chase, Charles E., 164 

Chase, Daisy D., 374 

Chase, Dewitt, 347 


224, 


276, 


BIOGRAPHICAL INDEX . 3 
i 


Chase, sae 259, 263, 274, 
275, 3 
Chase, Mis Flora G., 293 
Chase, Fred V., 120, 203 
Chase, Graves I., 325 
Chase, G. W., 100 
Chase, Mrs. G. W., 193 
Chase, Hattie L., 187 
Chase, Mrs. Henry, 173 
Chase, Irving, 195 
Chase, J. H., 188, 190 
Chase, Kenneth, 296 
Chase, Dr, Ly 179 
Chase, Melissa, 187 
Chase, Melville Warren, 
309, 374 
Chase, Mrs. M. W., 190 
Chase, R. P., 194, 224 
Chase, Sanford, 183 
Chase, Stephen H., 102 
Chase, Stephen, 115 
Chase, Miss S. A., 190 
Chase, Walter K., 348 
Chase, Mrs. Warren P., 
164, 190 
Cheever, Elizabeth, 88 
Cheever, Nathaniel, 88 
Cheney, Eva, 304 
Cheney, Florence M., 145 
Cheney, James, 326 
Cheney, Mrs. J. F., 375 
Cherry, Sara, 375 
Chevalier, Elizabeth, 147, 150, 


ae Seu 
Chevalier, Mrs. J. P., 


190, 


120, 


1 295 
Cheverus, Bishop, 8 
Chick, Alice O., 145 
Chickering, Jonas, 323, 327, 


32 
Child, Helen G., 276 
Childs, Fred, 348 
Childs, Howard, 348 
Chilles, Fred, 353, 354 
Chipman, Florence E., 

263, 285 
Chipman, Frank M., 334 
Chipman, Dr. Fs J50334 
Chipman, Percy C., 256, 353 
Choistry, Mrs. Elizabeth, 145 
Christensen, Alfred, 352 ° 
Christensen, Eleanor NG aes 
Christenson, Ethel, 224 
Christian, 0. #334 
Christopher, Mrs. Floyd, 304 
Church, G. E., 342 
Church, William Austin, 375 
Churchill, Mrs. Beatrice, 290 
Churchill, Boody, 165 
Churchill, George A., 87, 117, 

119, 123, 156 
Churchill, ast B., 87 


145, 


Chute, Howard M., 286 
Chute, Isabelle I., 294 

Chute, Isabelle May, 375, 3 
Cilley, Mrs. Lawrence N., 289 
Cilley, Madelyn, 308, 375 q 
Cimbollek, Max George, 305, © 


375 
Cimpher, Marjorie, 226 
Claggett, R., 
Clapp, Hannah, 222 
Clapp, N. J., 184 
Clark, Aaron, 351 
Clark, Allen P., 249 
Clark, Mrs. Allen, 306 
Clark, Miss A., 190 
Clark, Anna A., 187 
Clark, A., 191 
Clark, Arthur, 351 
Clark, Charles D., 156 
Clark, Charles R., 285 
Clark, Chauncey, 349 
Clark, Elias Miller, 198 
Clark, Ethel H., 375 
Clark, Florian L., 334, 375 
Clark, Mrs, Franklin, 294 
Clark, Geneva E., 145 
Clark, George A., 187, 324 
Clark, Dr. George B., 260, 375 
«Clark, Mrs. George, 260, 375 
Clark, Gertrude, 145 
Clark. Dr. G. Robert, 291 
Clark, Howard, 225, 253, 263, 

264, 272, 273, 375 
Clark, Mrs. Howard, 145, 260, 


375 
Clark, James, 337 
Clark, John W., 52, 57 
Clark, Joseph, 326 
Clark, Lottie F., 297 
Clark, Luther, 351 
Clark, Mrs. Mary E., 191 
Clark, May Beasley, 172 
Clark, Minnie E., 145, 275 
Clark, P P. Hieergs 
Clark, Robert bea to) 
oe Mrs. Robert Lio 


cae, Sadie, 297 

Clark, Tony, 352 

Clarke, Dr. F. A., 273, 375 
Clarke, Florence 'M,, 260, 375 
Clarke, Francine L., 145 
Clarke, Mrs. Franklin P., 145 
Clarke, Dr. Frederick A., 273 
Clarke, George Clarence, 375, 
Clarke, Helen Archibald, peli 
Clary, "Mrs. Isabelle RS "226 
Clary, Sally; $2,562 — 
Claus, J. Buse. 

Clay, Mrs. Adella, 298 
Cleaves, Eva D., 164 


280, 


BIOGRAPHICAL INDEX 


487 


Cleavland, Parker, 328 
Clement, Cacy Elizabeth, 376 
Clement, Enoch, 161 

Clement, Susie P., 289 
Clemmons, Alta, 288 

Clergue, Francis H., 180 
Cleveland, E. L., 225, 227, 376 
Clifford, Beatrice, 376 
Clifford, Mrs. Bertha, 303 
Clifford, Ella, 279 

Clifford, Mrs. Gerald P., 260, 


274 
Clifford, Mrs. Helen, 303 
Clifford, Rev. J. R., 225 
Clifford, Miss M. A., 190 
Clifford, Mae Harrison, 290, 


376 
Clifford, Marguerite L., 286 
Cloudman, Mrs. Andrew C., 

145, 260, 263, 275, 375 
Clough, Fred, 297 
Cloutier, Agnes, 286, 376 
Cloutier, Aimé, 376 
Cloutier, John, 296 
Cloutman, Ernest Clifton, 376 
Cloyes, Frank H., 119, 120 
Cluff, Fred A., 297 
Coan, Helen, 290 
Cobb, Clara, 164 
Cobb, Edward, 262, 332 
Cobb, Elbridge L., 160 
Cobb, Emily S., 145, 262 
Cobb, Grace C., 376 
Cobb, Helen, 145, 148 
Cobb {2 P,° 181 
Cobb, Judith S., 262 
Cobb, Laura, 297 
Cobb, Marion, 321, 376 
Cobb, Mary Alice, 145, 148 
Cobb, Nathaniel, 333 
Cobb, N. B., 102 
Cobb, Owen, 350 
Cobb, Ruth, 376 
Cobb, Mrs. Samuel T., 294, 


295 
Cobb, Mrs. W. E., 278 
Coburn, Louise Helen, 314 
Coburn, Mrs. John, 294 
Coburn, Raymond W., 376 
Cochrane, Harry H., 377 
Cochrane, Wilbur, 222, 

227, 280, 284, 377 
Codman, Rev. Robert, 306 
Coerne, Adolphe, 134 
Coffey, Florence, 145, 

Vi i 
Coffin, Carl C., 377 
Coffin, Frank, 154 
Coffin, Harold’ W., 227, 284, 


vie 
Coffin, Julia A., 187 


225, 


273; 


Coffin, Love, 229 

Coffin, Mildred B., 226 

Coffin, Mrs. Roy S., 280 

Coffin, Susan G., 145, 149, 222, 
226, 263, 264, 274, 377 

Coffin, Vaughn N., 283, 340 

Coffin, W. F., 263 

Cohen, Birdie, 147, 377 

Cohen, Harry J., 377 

Colburn, Charlotte, 193-194 

Colburn, Eleanor S., 321, 377 

Colburn, Grace, 278 

Colburn, Mrs. Helen, 305 

Colburn, John J., 93 

Colburn, M., 87 

Colby, Harold T. M., 256 

Colby, Herbert E., 303, 377 

Colby, Lloyd A., 340 

Colby, Randall, 256, 272 

Coldwell, Lothrop, 283 

Cole, Alice, 60 

Cole, Arthur, 334 

Cole, Bernard, 272 

Cole, Blanche, 306 

Cole, Charles H., 224 

Cole, Mrs. Herbert, 306 

Cole, Jonathan, 332, 333, 334 

Cole, Joseph G., 70 

Cole, Kelley, 256 

Cole, Stella, 306 

Cole, Walter R., 351 

Cole, Mrs. Warren W., 120, 


175 
Cole, Wilfred E., 225, 256 
Coleman, Charles E., 187 
Coleman, George, 325 
Coleman, Dr. Walter S., 159, 

256, 263, 272, 377 
Colesworthy, F. N., 334 
Colesworthy, George B., 353 
Colesworthy, Harry H., 353 
Colesworthy, S. H., 111 
Collet, Laura, 295, 377 
Collet, Romeo, 296, 377 
Collins, Converse, 300 
Collins, Mrs. Elizabeth B., 287 
Collins, Esther, 289 
Collins, Frank L., 

336, 340, 342 
Collins, George W., 343, 353 
Collins, Kenneth, 347 
Collins, Mrs. Leta, 287 
Collins, Melvin T., 286, 327 
Colson, Rev. A. D., 224 
Colwell, Mildred, 299 
Comeau, Blanchard, 256 
Comeau, Leah, 147, 273, 274, 


159, 334, 


377 
Conant, Albert, 272, 334, 377 
Conant, Alice, 292 
Conant, Mrs. Caro, 223 


Conant, Ella F., 377 

Conant, F. A., 188 

Conant, Forest B., 378 

Conant, Helen Alfreda, 293, 
294, 297, 378 

Conant, Kitty, 194 

Conant, Marion L., 298 

Conant, Neil R., 378 

Conant, R. A., 349 

Conant, Mrs. Ruth, 303 

Condon, Melissa, 102 

Conley, John D., 92, 179 

Connolly, Christopher, 256 

Connor, Delia, 284 

Connor, Ella, 284, 378 

Connor, Elizabeth, 304 

Connor, Reginald D., 255, 378 

Connor, Solon D., 353 

Constantine, Lloyd, 349 

Converse, Frederick S., 135 

Conway, Edward W., 261, 378 

Cony, Elizabeth, 277 

Cony, Mrs. Thomas O., 378 

Cook, Charlotte F., 378 

Cook, G. Fred, 352, 353 

Cook, Gladys Russell, 147, 227, 


378 
Cook, Mrs. Grace M., 146, 225 
Cook, Henry C., 256, 272, 335, 
378 
Cook, Mrs. Herman, 306 
Cook, Mrs. Hilliard D., 263, 


378 
Cook, Mrs. Hope Jackson, 305, 


378 
Cook, Laura M., 114 
Cook, Mrs. Leroy, 145 
Cook, Lina, 187 
Cook, Mrs. M. B., 222 
Cook, Ruth Plummer, 378 
Cook, Mrs. Sidney, 299 
Cook, S. M., 198 
Cook, Victoria, 190 
Cook, Mrs. Wallace, 147, 259 
Cook, W. H., 297 
Cooke, Reginald B., 258, 273, 


378 
Coolidge, Mrs. Edith, 297 
Coolidge, Florence, 263 
Coombs, Ardon W., 157, 158, 
159, 160 
Coombs, Charles Whitney, 203, 
378 
Coombs, Mrs. Delbert Dana, 
293, 295, 379 
Coombs, Mrs. H. W., 379 
Coombs, Jacob Flye, 379 
Coombs, James Parker, 379 
Coombs, Martha Lufkin, 203, 
263, 293, 297 
Cooper, George W., 155, 159 


488 


Cooper, Helen, 302 

Copeland, Ray, 351, 379 

Copp, William R., 224, 379 

Copping, Lillian Sprague, 301, 
302, 379 

Corbett, Barbara, 149 

Cordin, Peter, 316 

Corey, Mildred, 147, 379 

Corliss, Ferdinand M., 353 

Corliss, Fred C., 254, 379 

Corliss, F. O., 334 

Corliss, Mrs. M. A., 190 

Corneail, Annie I., 379 

Cornwall, Rev. Nathaniel E., 
116 

Corrigan, Mrs. Emma G., 298 

Corser, Ellen M., 142 

Costello, MSs 261, 379 

Cote, ips W., 295, 296, 
297, 3 

Cote, EG 296 

Cote, Joseph, 255 

Cotter, Lizzie B., 184 

Cotton, Dorothy, 321, 379 

Cotton, John, 11 

Cotton, Margaret Burnham, 
290, 379 

Coughlin, George, 305 

Coughlin, Dr. M. E., 276 

Coughlin, Winifred, 302 

Couillard, Louis, 379 

Couillard, Rhea, 296 

Coulombe, Yvonne M., 379 

Courtemanche, Janette, 379 

Cousens, C. A., 224 

Cousens, Ralph, 351 

Cousens, William True, 253, 
254 : 

Cousins, Mrs. Alice, 305 

Couture, Emil, 277 

Couture, Jean, 296 

Couture, Valdor, 291 

Covey, Eugene Leslie, 379 

Covey, Dr. Florence Alice, 380 

Cowburn, John, 350 

Cowie, Mary J., 225 

Cox, James, 173 

Cox, Mary P., 145 

Coy, Frank, 198 

Coyle, John B., Jr., 118, 119, 
156, 159, 164, 165, 189, 190, 


224 

Coyle, Mrs. John B., Jr., 

Crabtree, Harry L., 
227, 380 

Crafts, A. B., 1 

Crafts, Mrs. Alice, 293, 297 

Crafts, Seldon T., 222, 224, 
263, 295, 296, 297, 380 

Crafts, Mrs. Seldon T., 
224, 226, 294, 295 


119 
22% 228. 


222. 


BIOGRAPHICAL INDEX 


Cragg, Beatrice Baker, 380 
Crague, Annie, 305 

Craig, Mrs. Ann L., 186 
Craig, Marguerite, 225 
Craig, Margaret, 321, 
Craig, Mrs. Roy, 299 
Cram, Blanche O., 145, 311 
Crandelmire, Pauline, 380 
Crangle, J. Howard, 256, 272, 


380 


334, 380 
Craven, Mrs. James H., 147, 
380 


Craven, Margaret, 260, 380 
Crawford, Ernest L., 225, 285 
Crawford, Mrs. E. L., 222, 224, 
286, 380 
Crawford, Harold Ellms, 380 
Crawford, Mrs. Janie, 286 
Crawford, Raymond, 264, 273 
Cream, Steven, 339 
Creed, Alfred, 353, 354 
Creighton, June Andrews, 380 
Creighton, Katherine, 302 
Cressey & Allen, 326 
Cressey, Charles R., 
273, 326, 380 
Cressey, Cleveland B., 380 
Cressey, Helen H., 145 
Crie, Kelley B., 380 
Crisham, J. B., 154 
Cristafaro, Anthony De, 336 
Crocker, Mrs. Aldana, 64, 102, 
300 
Crocker, Caroline, 171 
Crocker, Douglass A., 224 
Crockett, A. M., 181 
Crockett, A. T., 300, 380 
Crockett, Charles, 102, 346 
Crockett, George Albian, 380 
Crockett, James, 102 
Crockett, M. S., 194 
Crockett, Sadie Russell, 
380 
Croner, Mary, 64 
Cronham, Charles R., 264, 268, 
269, 2°70, 271, 272, 273,, 381 
Cronham, May Korb, 147, 227, 
381, 416 
Cronin, H. Ps 
Crook, Mrs. Wiltid H:, 286 
Cropley, Mrs. Eliza Belle, 260, 
381 
Crosby, Annie, 193 
Crosby, Charles H.. 316 
Crosby, Prof. Hanford, 316 
seer Mrs. Henri, 294, 295, 


pba J. Willis, 225 

Crosby, Pheobe P., 227, 381 

Crosman, A. Hurford, 258, 272, 
381 


264, 272; 


290, 


Cross, Adelaide, 302, 381 ; 
Crossman, Mrs. Mildred M., — 


294 
Crotch, Dr. William, 83 . 
Crouch, Frederick N., 77, 81, 
82, 83, 85, 86, 122 
Croudis, Bernard W., 353 
Croudis, George, 351, 353 
Crouse, Mrs. Jasper, 288 
Crouse, Mrs. Margaret, 304 
Crouse, Ruth Porter, 381 
Crowe, Mrs. R. D., 285 
Crowell, Alan W., 381 
Crowell, Frank jae LES, 180 
Crowell, fg IE Si 337 
Crowell, J. A., 116, 176 
Crowell, Mrs. Jason A., 
177, 178, 180 
Crowell, Mrs. Mary, 293 
Crowley, Florence, 321, 381 
Croxford, Lyndon F., 381 
Croxton, Frank, 248 
Cuirlo, A., 343 
Cumming, Mrs. Phillis, 290 ; 
Cumming, Mrs. Raymond, 382 © 
Cummings, Mrs. Frank M., 294 
Cummings, Mrs. Frank S., 382 
Cummings, Mrs. G. M., 159, 
164, 311 
Cummings, Helen L., 226, 3829 
Cummings, Ida, 293, 294 
Cummings, Isabelle, 297 
Cummings, Mrs. Letitia J., 142 
Cummings, Ruth, 382 


114, 9 


Cumston, Dr. Charles Henry, q 


382 
Cunningham, Agnes Hall, 382 
Cunningham, Elizabeth A., 382 — 
Cunningham, Helen E., 382 . 
Cunningham, John Albert, 382 _ 
Cunningham, Mrs. Ollie, 287 
Curran, Annie, 297 
Curran, Mary E., 382 
Currie, Mrs. John, 294 
Currie, Mrs. Louise, 290 
Currier, A., 335 
Currier, Christine Worthen, 
297, "382 
Currier, Elizabeth, 278 
Currier, Mrs. F. Allison, 298 
Currier, Frederick Otis, 344 
Currier, Mrs. Helen A., 278 
Curtis, Alice M., 145 
Curtis, Alvah, 347 
Curtis, Cyrus H. K., 169, 257, 
258, 264, 265, 267, 382 a 
Curtis, Cyris*, A677 oa 


332 

Curtis, Faustina, 278, 280, 383 { 
Curtis, Frank, iy ; 
Curtis, George 1B 


BIOGRAPHICAL INDEX 


Curtis, George William, 132 
Curtis, Hattie, 292 
Curtis, Lora Leone, 383 
Curtis, Walter E., 353 
Curwen, John, 105 
Cushing, Mrs. Albert, 196 
Cushing, Alice J., 274, 383 
Cushing, Mrs. Amelia, 286 
Cushing, Amy, 286 
Cushing, Elizabeth, 141 
Cushing, Emma Merrill, 383 
Cushing, Mrs. Emma, 185 
Cushing, Frederic a 119 
Cushing, G. L., 188 
Cushing, Mrs. G. W., 297 
Cushing, Helen, 275 
Cushing, Henry, 262 
Cushing, Lizzie, 275 
Cushing, Mrs. L. T., 185, 225, 
226 
Cushing, Mrs. Mae W., 302 
Cushing, Max P., 226 
Cushing, S. D., 120 
Cushing, S. Helen, 145 
Cushing, Walter P., 259, 383 
Cushman, Arthur, 226 
Cushman, Mrs. Charles, 142 
Cushman, Mrs. Hannah, 61 
Cushman, Mrs. Hiram N., 146 
Cushman, Mrs. Lenora, 293 
Cushman, Mrs. Marion, 284, 


383 
Cushman, Sylvia, 383 
Cusick, James, 342 
Cutler, Mrs. Charles, 280 
Cutler, Janet, 145 
Cutler, Thelma E., 286 
Cutter, Alice, 273, 383 
Cutter, Mrs. George, 192 
Cutter, Leslie W., 180 
Cutter, Mary, 180 
Cutter, William H., 98 
Cutts, Grace Merrill, 383 
Cyr, Mrs. Anna, 287 


D 


Daggett, Cecil Maurice, 225, 
304, 305, 383. 

Daggett, Christine, 226 

Daggett, Doris N., 383 

Daggett, Emma R., 383 

Dakin, Clarence L., 178 

Dale, Samuel H., 179 

Dallero, O. A., 383 

Dalton, Mrs. Harry, 256, 383 

Dalton, Kathleen M., 290, 383 

Dam, Gertrude, 145 

Dama, Luigi, 195 

Damon, Frances Brackett, 383 

Damon, Mrs. F. H., 278 


Damon, Mrs. H. L., 119, 120, 
203 
Damren, Olive M., 384 
Damrosch, Walter, 241 
Dana, Francis Joseph, 3 
Dana, Joe W., 354 
Dana, Simon, 353, 354 
Danforth, Elizabeth, 293 
Danforth, Jennie M., 297 
Danforth, John, 11 
Danforth, Samuel, 11 
Darker, Mrs. Caroline F., 
274 
Darker, Frances, 145 
Darling, George, 192 
Darrah, Mrs. W. C., 190 
Darvill, Fred J., 303 
Davenport, Mrs. Anne, 290 
Davenport, Beatrice, 226 
Davenport, C. A., 1 
Davenport, F. S., 92, 98, 113, 
114, 116, 154, 176, 177, 180, 
183, 279 
Davenport, Mrs. F. S., 
177, 179, 180 
Davenport, Mrs. M. G., 384 
Davidson, Edith May, 384 
Davidson, J. T., 224, 225 
Davidson, Miss M. J., 226 
Davie, William, 351 
Davies, Mrs. George F., 304 
Davies, Mrs. O. C. S., 276 
Davies, Rev. T. M., 224 
Davis, "Albert, 89, 203 
Davis, Alexander (Sandy), 349 
Davis, Annie L., 145, 172 
Davis, Arthur C., 384 
Davis, Arthur N., 286 
Davis, Bertha, 280 
Davis, Bertram L., 1 
Davis, Carl, 162 
Davis, Caroline E., 
Davis, Charles, ee 
Davis, Clara, 384 
Davis, Mrs, Clifford, 384 
Davis, Donald, 335 
Davis, Frances, 306 
Davis, Frank, 347 
Davis, Mrs. Frank, 306 
Davis, Dre Pe 126924003946 
Davis, Mrs. Frederick L., 384 


263, 


176, 


Davis, Mrs. Gertrude S., 226, 
264, 384 

Davis, Mrs. Gilman, 145, 149, 
263 


Davis, Mrs. Gladys, 303 
Davis, Hazel Small, 384 
Davis, H. E., 224 
Davis, Ira M., 334 
Davis, John H., 180 
Davis, Leah, 302 


489 


Davis, Louise, 293 

Davis, Margaret B., 145, 148 

Davis, Marshall, 119, 224, 385 

Davis, Paul, 335 

Davis, Rose, 302 

Davis, Mrs. R. W., 226 

Davis, Sally, 145 

Davis, deg Loe 9 925 333 

Davis, William H., 263, 273 

Davis, W. R., 349, 385 

Davis, Mrs. W. R., 385 

Davis, Willard W., 116, 172 

Davis, William, 35, 52, 56 

Davison, D. ae 160 

Davison, Vera, 305 

Davy, William, 159, 353 

Day, Mrs. Albert H., 224 

Day, Elizabeth, 306 

Day, Ella, 296 

Day, Francena, 297 

Day, Franklin A., 88, 89 

Day, Fred, 203, 263 

Day, Frederick I., 292 

Day, Mrs. Lewis M., 289 

Day, Mrs. Mary C., 306 

Day, Paul, 385 

Day, Mrs. Walter F., 385 

Day, Willis H., 351 

Deacon, George A., 283 

Dean, Mrs. Dorothy B., 227, 
283 

Dean, Dorothy, 321, 385 

Dean, George W., 224, 285 

Dean, H; G. 391 

Dean, Mrs. James Lowell, 385 

Dean, Mrs. Leon A., 280, 385 

Dean, Leroy, 385 

Deane, Frank N., 385 

Deane, Mrs. Frank N., 385 

Deane, Rev. Samuel, 14, 15 

Dearborn, Hall C., 283, 340 

Dearborn, Lloyd M., 283 

Dearborn, Mae L., 277 

Dearborn, Mrs. W. H., 145 

Debeck, Leona, 288 

Debeck, Leonard H., 352 

Debeck, Robert W., 253 

Decker, Eliza L., 187 

Decker, Elizabeth, 89 

Decker, Elmira, 197 

Decker, Lucy E., 187 

Decker, Marie, 89 

Decker, Deacon Stephen, 197 

Deering, Mrs. Bessie, 298 

Deering, James, 37 

Deering, John, 27 

Deering, Nathaniel, 34, 52, 56 

DeGrys, Viola, 275, 321, 328, 


385 
Deihl, Edward F., 297 
Deihl, Harry, 297 


490 


Delancy, John, ats 

Delaney, J., 338 

Delano, Charles M. G., 385 
DeLano, Daniel, 347 
DeLano, Rillie ce 348 
Delaronde, Charles A., 385 
Demack, Leo C., 297 
DeMerritt, Mrs. Robert, 147 


De Merritt, Mrs. Sarah S., 
197 385 

Demers, Valdemar Joseph, S. 
M., 385 


Demers, Joseph A., 385 
Demmons, Mildred, 302 
Dempsey, Kathleen, 290 
Denar, Aubrey, 225, 385 
Denison, Mrs. Mary T., 145,148 
Dennett, Charles W., 351 
Dennett, Gertrude, 280 
Dennett, Louise, 193, 194, 226 
Dennett, William H., 147, 154, 
162, 163, 172, 173, 179, 310, 
911,925 
Dennett, Mrs. William Henry, 
141, 142, 143, 148, 164, 311 
Dennis, Arthur N., 155 
Dennis, Francis Arthur, 385 
Dennison, Benjamin, 62 
Dennison, Mrs. Charles, 196 
Dennison, P. B., 353 
Densmore, Miss E. M., 115 
De Reszke, Edouard, 237, 246 
De Reszke, M. Jean, 236, 238, 


246 
Derthick, Wilbur M., 278 
Desaulniers, Lucy Jane O., 386 
Deshaies, Mrs. Anna, 296 
Desjardiens, Dr. Louis P., 303 
DesMarais, Harry C., 286 
Devoe, Emma, 223 
Devoe, Irving W., 
386 
Dewey, Blanche, 196 
DeWolfe, Elizabeth, 264, 386 
Dickerson, Mrs. James 5. 147 
Dickey, Charles Bii57,.279 
Dickey, Mrs. Lizzie K., 189 
Dickey, Mark S., 225, 226 
Dickey, May V.. 189 
Dillingham, Mrs. Fred A., 278 
Dils, Winnifred L., 287 
Dimmoch, Eva M.. 263 
Dimmoch, William A. , 249 
Dimond, Daniel, 342 
Dingley, Bret HH. Gs SN dar dp i de 
311, 386 
Dingley, Florence, 145 
Dingley, F. L., 189 
Dingley-Mathews, Mrs. 
Blanche, 386 
Dingley, Nelly, 187 


283, 340, 


BIOGRAPHICAL INDEX 


Dinsmore, Harry Augustus, 
325, 386 tad 

Dinsmore, Hazel Robinson, 
283 


Dinsmore, Hiram, 59, 188, 190 
Dinsmore, James, 325 
Dinsmore, Mrs, James, 180 
Dinsmore, Orin, 

Dionne, Laurentine, 386 
Ditson, Oliver, 104 

Dixon, Lee W., 386 

D’Nardi, Rita, 305 

Dobson, Mrs. Lindley, 299 
ee Ruth Ellen, 147, 318, 


38 
Dodge, C. H., 188 
Dodge, Mrs. Edward, 145 
Dodge, Gertrude, 226 
Dodge, Rex W., 256 
Dodge, Mrs. Rex, 145 
Dodwell, Frances, 120, 
164, 386 
Dodwin, Gertrude, 311 
Doe, Mrs. Annetta Clark, 386 
Doe, Harold Oliver, 283, 387 
Doe, Mrs. Harris N., 280, 281 
Doeme, Zolton F., 239 
Doherty, Wendell W., 
335, 387 
Dole, Elizabeth, 88 
Dole, Hannah, 89 
Dole, John H., 48, 178 
Dole, Rev. L. A., 289 
Dole, Nathan Haskell, 387 
Dolley, Mrs. Helen M., 321, 
387 
Dolloff, Vesta, 387 
Donahue, Elizabeth, 302 
Donald, May Norton, 387 
Donland, Eleanor A., 274 
Donnell, Frances, 147, 
274, 387 
Donnell, Louise, 226 
Donnell, Mrs. W. E., 293 
Donnelly, Thomas, 154 
Donovan, Ann Russell, 
387 
Donovan, Faith, 283 
Donovan, Hilda, 280 
Donovan, Rose Ella, 387 
Donovan, Mrs. T. G., 280, 281, 
308 
Donworth, Eugene C., 224 
Dority, Mrs. Fred, 278 
Doron, Huldah S., 284, 388 
Dorr, Harold W., 388 
Dorrance, Sarah, 52, 56 
Dostie, Claire, 294, 388 
Doten, Mrs. Charles, 145 
Doten, Chester W., 119 
Doten, Mrs. Nellie King, 275 


145, 


256, 


253; 


284, 


Doughty, Alfred W., 353 
Doughty, Frank W., 343 
Douglass, Annie A., 226 
Douglass, Mrs. Annie B., 
Douglass, Arthur L., 256 
Douglass, Earle B., 286 
Douglass, Major Jack, 61 
Douglass, Jacob, 316 
Dow, Mrs. Clara, 306 
Dow, Fred E., 155, 156 
Dow, Mrs. Goldie, 290 
Dow, Grace A., 306 
Dow, Mrs. Guy, 276 s 
Dow, Helen Elizabeth, 321, 388 — 
Dow; 2M. q 
Dow, Mrs. Mae Haskell, 388 
Dow, Richard S., 178 
Dow, Sterling T., 119 
Dow, Mrs. Wilmot, 299 
Down, Edith, 388 
Downer, Ella M., 190, 304 
Downie, Cecilia, "290 q 
Downing, Alfreda Rogers, 388 — 
Downing, Kenneth W., 340 f 
Downing, Mrs. Mellen. T., 294% 
Downs, Charles E., 255, 335 % 
Downs, Frederic Le 256 
Downs, Ocey, 274, 308 
Doyen, Jesse, 349 
Doyle, Mrs. Augusta, 222, 292, 
293, 294 
Doyle, Mrs. Dora, 287, 297 
Doyle, James, 334 
Doyle, Rose, 293 F. 
Drake, Frederick E., 225, 285, 
388 3 
Drake, George, 297 
Drake, H. B., 227, 309 
Drapeau, Conrad L., 286 4 
Drapeau, Mrs. Conrad L., 286 — 
Draper, Lincoln, 256 7 
Dresser, Mrs. Clarence, 146 
Dresser, Mrs. Delma K., 260 
Dresser, Ethel M., 145 
Dresser, James, 52, 54 
Drew, Allen, 88, 89 
Drew, Annie F., 115 
Drew, Mrs. Fred, 299 
Drew, Harry Tilden, 351, 388 © 
Drew, Nellie, 189, 190 
Drew, ‘Mrs. Timothy, 33 . 
Drinkwater, Frances M., 227, — 
278 
Drinkwater, H. A., 194 
Drinkwine, Florence R., 388 
Driscoll, John, 342 
Drossel, Paul, 272, 335 q 
Druilettes, Father Gabrielle, 5, — 
193 
Drummond, Alexander, 197 . 
Drummond, Henry F., 283, 339 — 


294 4 | 


POG wor rub A Ly LN DIX 


491 


Drummond, Mrs. Henry F., 
280, 281 

Dryden, Susie D., 120 

Dube, Lena L., 225, 226 

Dube, Mrs. Z., 295 

Dudley, May, 201 

Dufair, Raoul, 388 

Duff, Sarah Robinson, 172, 388 

Dugal, A. J., 388 

Dugan, Mildred M., 150, 253, 
256, 272, 388 

Duley, Lloyd G., 
285 

Dumais, Ludger, 388 

Dumesnil, Maurice, 328 

Dummer, Lucy G., 27 

Dumont, Bernadette, 295 

Dunbar, E. W., 184 

Dunbar, Mrs. E. W., 184 

Dunbar, Mrs. Oscar, 388 

Duncan, Bessie, 304, 388 

Duncan, Mrs. George, 275 

Duncan, Harry A., 159 

Duncan, Marion, 304 

Dunham, A. M. (Mellie), 175, 
316, 388 

Dunham, Henry M., 134, 139 

Dunham, Kenneth L., 283 

Dunlap, Erlon M., 297 

Dunlap, Mrs. E. M., 388 

Dunlap, John S., 261 

Dunlap, Marcia, 328 

Dunleavy, Margaret, 388 

Dunn, Elizabeth R., 297 

Dunn, Florence, 306, 388 

Dunn, James L., 343 

Dunn, Mrs. Lawrence, 306 

Dunn, Ruth, 321 

Dunning, Alice S., 222, 286, 
388 

Dunning, Mrs. Herbert A., 280 

Dunphy, Marguerite, 263 

Dunphy, Susie, 223 

Dunstan, Rev. John, 249 

Dunton, Mrs. Emma, 183 

Dunton, Helen M., 193 

Dunton, Sophie, 278 

Duplessie, Orville, 256, 335 

Durell, Edgar A., 352, 35, 

Duren, Elizabeth Freeman, 114 

Duren, Elnathan F., 93, 113, 
Tid> 15116 

Duren, Ethel A., 280, 388 

Duren, Viola A., 280, 283, 389 

Durepo, Annie, 304 

Duston, George L., 187 

Dutton, Mrs. W. H., 101 

Dwelley, Mary, 389 

Dwelly, Mrs. Edwin, 196 

Dwyer, Annie, 389 

Dwyer, J., 154 


S02) 224, 


Dyer, Mrs. Abbie F., 179, 292 

Dyer, Cecil, 335 

Dyer, Elizabeth W., 142, 148 

Dyer, Mrs. Emma J., 274 

Dyer, Frank, 276 

Dyer, Mrs. Fred, 274, 275 

Dyer, Mrs. Harry, 146 

Dyer, Hugh, 354 

Dyer, Kate F., 145 

Dyer, Marion Randall, 147, 
263 

Dymond, Mrs. Anna T., 283, 
389 


E 


Eagan, Lawrence F., 261, 389 

Eagles, Irene, 273 

Eames, Emma, 172, 227, 239, 
245, 246, 389 

Eames, Mrs. Emma Hayden, 
145, 195, 245, 310, 389 

Eames, Ethel, 22 

Eames, Ithamar Bellows, 245 

Eames, L., 116 

Eastman, Alfred E., 277 

Eastman, Mrs. Chase, 146 

Eastman, Fred E., 119 

Eastman, Mrs. Marion, 260 


* Easton, Mrs. D. A., 142 


Eaton, Charles, 345 

Eaton, Mrs. Franklin, 226 

Eaton, Hattie, 151 

Eaton, H. C., 158, 339 

Eaton, Henry B., 224, 227, 
389 

Eaton, Horace, 303 

Eaton, Howard, 340 

Eaton, W. S., 224 

Ebbeson, Agnes, 280, 284, 389 

Ebbeson, Olga, 284 

Ebbett, Avis, 287 

Edes, Mrs. D. H., 226, 261 

Edes, Mabelle Sawyer, 389 

Edes, Peter, 30 

Eddy, Sara Hershey, 175 

Edgecomb, Frank M., 389 

Edgecomb, Miriam M., 283 

Edgerly, Cora Emily, 389 

Edminster, Mrs. L. F., 285 

Edmunds, Mrs. Edward, Jr., 
288 

Edmunds, Eunice E., 61 

Edwards, A. B., 190 

Edwards, Mrs. A. E., 190 

Edwards, Albert, 187 

Edwards, Mrs. Augusta, 188, 
189 

Edwards, Azola Pike, 389 

Edwards, Calvin, 97, 323, 324 

Edwards, Claude H., 389 


Edwards, Edith, 188 

Edwards, Ethel Maud, 149, 
389 

Edwards. E.cA:, 154.) 222;/277, 
284, 389 

Edwards, F. H., 161 

Edwards, George ‘Thornton, 
157, 249, 250, 251, 314, 389 

Edwards, Henry S., 77, 78, 80, 
165, 199, 201 

Edwards, Julius, 183 

Edwards, O. S., 90 

Edwards, Vertie, 293 

Egery, Thomas N., 179 

Eichberg, Julius, 183 

Elder, E. E., 161 

Eldridge, Emily, 147, 150, 253, 
274, 390 

Eldridge, Mrs. J. H., 278 

Eldridge, Helen A., 390 

Eliason, Karin, 390 

Eliot, Dr. Charles W., 
138 

Elkins, Charles A., 223, 224 

Ellerman, Blanche, 161 

Ellingwood, Ella P., 390 

Ellingwood, Mrs. Ruth, 302 

Elliott, Alice E., 287, 288 

Elliott, Emma, 195 

Elliott, Georgia, 390 

Elliott, Mrs. Norma, 226 

Elliott, Pearl, 260 

Elliott, Washington, 87 

Ellis, Beryl, 390 

Ellis, Mrs. Grace, 293, 297 

Pilg ib 161 

Ellis, Julian F., 297 

Ellis, Mrs. Julian F., 294, 390 

Eihs: Me Bs 432 

Ellis, Otis, 351 

Ellison, James, 154 

Ellison, Mrs. Sarah M., 142, 
163, 164 

Ellsworth, Mrs. Lily, 292 

Elmer, W. L., 224 

Elmore, H. T., 276 

Elmore, Mrs. H. T., 276 

Elms, Mrs. R. H., 278 

Elson, Louis C., 128 

Elwell, Mrs. Frank, 146 

Elwell, Fred L., 352 

Elwell, Mrs. Helen, 275 

Elwell, Myrle, 305 

Elwell, Stephen E., 352 

Emerson, Mrs. Ada H., 145 

Emerson, Addie D., 260 

Emerson, Alice Brett, 390 

Emerson, Edmund, 289 

Emerson, George D., 191 

Emerson, Irving, 309 

Emerson, Joseph, 195, 277 


124, 


492 


BIOGRAPHICAL INDEX 


Emerson, Luther O., 
116, 181 

Emerson, Ralph Waldo, 132 

Emerson, Dr. Samuel, 34, 38, 
40, 41 

Emerson, Mrs. William E., 294, 


295 ; 
Emery, Mrs. Abbie E., 142 
Emery, Asa, 99 
Emery, H. L., 296 
Emery, James, 67 
Emery, James L., 191 
Emery, Joseph, 33 
Emery, Mary J., 261 
Emery, Sarah P., 227, 390 
Emery, Stephen, 201 
Emery, Stephen A., 201, 202 
Emery, W. H. F., 155 
Emminger, W. K., 187, 190 
Emmons, Mrs. Abbie, 222, 292, 
293 
Emmons, Mrs. Carrie E., 222, 
390 
Emmons, Mrs. George, 294 
Emond, Marie i FOO 
Emple, Hyman, 283 
Epps, Dr. Franklin Stevens, 


107, 108, 


390 
Erickson, Arthur, 272 
Ericson, Bernard, 354 
Erskine, Alice, 302, 303 
Estabrooke, H. M., 225 
Estes, Audrey, 294 
Esty, Alice, 291 
Esty, Joseph W., 109, 197, 350 
Eustis, Harry ie 237 205. 
256, 258, 260, 391 
Eustis, Wallace, 347 
Evans, Dr. H. C., 300 
Evans, Mrs. H. C., 300 
Evans, Josepha V., 298, 391 
Evans, Mrs. Louise A., 184 
Evans, Ora Liston, 391 
Evans, W. B., 180 
Evans, Warren R., 184 
Eveleth, Aaron, 88 
Eveleth, Ellen O., 145 
Eveleth, John, 38, 41, 88 
Eveleth, Nellie A., 120 
Eveleth, Sarah, 275 
Everett, Rev. C. C., 179 
Everett, Helen, 181 
Everett, Oliver, 52, 54 
Ewing, Margaret, 258, 
273 


260, 


F 


Fagan, John T.. 53, 119, 164, 
166, 254, 266, 268, 313, 329, 


334, 336, 391 : 
Fairbanks, Mrs. Bessie, 290 


Fairbanks, Charles N., 186 
Fairbanks, Columbus, 110 
Fairbanks, George J., 1 
Fairbanks, F. M., 350 
Fairbanks, George W., 65, 89, 
109 
Fairbanks, Harriet, 182 
Fairbanks, Horatio W., 110 
Fairbanks, John, 35 
Fairbanks, Hon. Joseph W., 97, 


98, 186, 349 
julia Sretae 


Fairbanks, Mrs. 
186 
Fairbanks, Phebe, 110, 198 
Fairchild, Blair, 134 
Fairfield, Ellen, 145 
Fairman, Alice, 164 
Fales, Lillian, 303 
Fallon, Elizabeth F., 284 
Farley, Mrs. Alice Goudy, 222 
Farley, Mrs. Cyrus H., 142, 
148, 391 
Farley, Mrs. Elsie H., 142 
Farley, Mrs. Henry G., 
391 
Farley, Susan, 142 
Farnham, Mrs. Beryl, 303 
Farnham, Frances, 391 
Farnham, Harriet W., 145 
Farnham, Mrs. Harry, 280 
Farnham, Herbert, 346 
Farnham, Natalie Hardy, 391 
Farnham, Mrs. Vera, 306 
Farnsworth, E. C., 263, 391 
Farnum, Mrs. S. Merritt, 294, 
295, 308 
Farr, Annie, 263, 391 
Farr, Charles, 335 
Farr, Edith, 260 
Farr, John, 255, 258, 392 
Farr, Lawrence, 335 
Farrar, Geraldine, 172, 246 
Farrar, Lucy, 293 
Farrar, Sidney, 246, 392 
Farrar, Violet, 304 
Farrell, Charles, 175, 200 
Farrell, Leila, 200, 263 
Farrington, B. F., 222 
Fayrington, Cora Ramsdell, 


392 
Farrington, E. C., 89, 90, 190 
Farrington, Edith M., 284, 392 
Farrington, George S., 177 
Farrington, Grace, 145 
Farrington, Harold Edward, 
392 
Farrington, H. T., 334 
Farrington, J. L., 190 
Farrington, Paul, 335 
Farrow, Miss S., 181 
Farrow, Mrs. William, 300 


146, . 


- Fenderson, Mrs. 


Farwell, Mrs. A. E., 225 
Farwell, Mrs. Cora, 301 
Farwell, Eva, 190 
Farwell, Gorham, 343 
Farwell, Lyndon L., 343 
Fassett, Harriet, 145, 263 
Faught, Frank H., 254, 392 
Faulkenham, Mary, 260, 392 
Faunce, Mary E., 193, 226 
Faunce, Mrs. Vernon, 294 
Favor, Edward P., 392 
Fay, Edward, 286 
Fay, John E., 273, 392 _ 
Fay,/ Rev. S. P., 113, 115, 116.98 
154, 179 
Feeney, Charles E., 392 
Feeney, Helen, 302 
Felden, Dr. Botho, 256, 273 
Felden, Mrs. Botho, 256 
Felician, Father, 5 
Fellows, Deborah Swan, 184 
Fellows, Mrs. Nettie, 119, 120, 
146, 164, 172, 173, 262, 392 © 
Felt, George C., 159 
Fenderson, Bertha King, 392 
Fenderson, Carll N., 349 
Fenderson, Charles K., 255, q 
258, 263, 273, 392 
Charles K., 
146, 148, 258, 263 
Fenderson, J. H., 192 
Fenderson, Julia, 200 
Fenderson, Leigh G., 392 
Fenderson, Sarah is 393 
Fenn, Mrs. D. H; 4 
Fenton, Mrs. R. M. eer 393 
Fernald, Eli, 187 - 
Fernald, Ellen, 302 
Fernald, Esther, 302 
Fernald, Mrs. E. W., 299 
Fernald, eae! 321, 393 
Fernald, Dr.28; -Gi7 810, 154 
161 
Ferrero, Willy, 247, 393 . 
Fessenden, Mrs. Laura, 288 
Fessenden, Mabel Bates, 393 
Fessenden, Mrs. N., 288 
Fessenden, W. H., 291 
Fessenden, Mrs. W. H., 142 
Fessenden, William Pitt, 163 
Fickett, Louis W., 255, 334, 


393 
Field, Arthur A., 340, 393 
Field, Mrs. Donna, 261 
F ield. Frances G., 393 
ice Rev. G. W., 115, 116, 


Field. Mabel R., 145 
Field, Sara F., 223 
Field, William R., Jr., 342 
Field, Mrs. Winnifred. 288 


BIOGRAPHICAL INDEX 


Fife, Fredericka L., 393 
Fifield, Alice Gould, 393 
Fifield, Harry, 226 — 
Fifield, Marion Louise, 394 
Files, Charles O., 263, 273 
Files, Harry S., 255, 256, 258, 
273, 394 
Files, Mrs. Harry S., 146, 394 
Files, Katherine, 321, 394 
Files, Louis M., 263 
Files, Mrs. Louis M., 
Fillebrown, T., 190 
Filteau, George, 296 
Finck, Henry ee eA. 2361237 
Findley, Myaek.. 145, 263,275 
Fineburg, Abraham, 256 
Fineburg, Hyman, 256, a3 5 
Fineburg, Rose, 272 
Fineburg, Samuel, 272 
Finnegan, M. Hilda, 283 
Finnegan, Wilfrid A., 227, 394 
Firth, Elizabeth, 222 
Fish, Clarence A., 346, 394 
Fish, Church, 89 
Fish, Frank H., 254 
Fisher, Cecil, 288, 394 
Fisher, Clara, 161 
Fisher, David Ellery, 394 
Fisher, John E., 155 
Fisher, Rev. Jonathan, 41 
Fisher, Mrs. Stanwood, 


394 
Fiske, John, 125, 136 
Fitch, Claud L,, 351 
Fitch, W. L..° 172, 187 
Fithian, Philip V., 17, 18 
Fitts, Henry King, 263 
Fitzgerald, Robert, 260 
Fitzsimmons, Mrs. Idella, 290 
Flagg, Earl L., 256 
Flagg, Gertrude, 263 
Flagg, Norman, 335 
Flagg, Olive G., 275, 394 
Flanagan, Mrs. J. H., 222 
Flanagan, Margaret, 293, 297 
Flanders, David Pollard, 341 
Flanders, Ella, 226, 309 
ove Ruth Augusta, 253, 


Poe Mrs. R. L., 280 
Flannigan, Anna F., 394 
Fleming, Mrs. Eisie, 303 
Fletcher, Clementine, 145 
Fletcher, Doris, 226 
Fletcher, Edward, 394 
Fletcher, Helen, 300 
Fletcher, Mary, 146 
Fletcher, ok a 
Fling, H. R.., 

Flint, Mrs. Pred # be 
Flint, Mrs. Lucy M., 
Flinton, PAA $04 


260, 394 


145, 


ap 186 


Flood, Alice Ada, 294, 394 
Flood, James P., 394 

Flye, Mrs. Alden, 184 
Five, -Mrs. JiR. 222; 398 
Flynn, Mrs. Pearl E., 146 
Fobes, Marion, 146, 148 


Fobes, Mrs. Ruth Carter, 260, 


395 
Fogarty, Susie, 304 
Fogg, Mrs. A. L., 226 
Fogg, Ernest, 225 
Fogg, Mrs. Efhe, 293 
Fogg, Evelyn D., 146, 395 
Fogg, E. H., 179 
Fogg, Mrs. Florence, 226 
Fogg, Mrs. Grace, 303 
Fogg, N. L., 190 
Fogg, Mrs. Orrin S., 142 
Fogg, Mrs. Walter, 146 
Foley, Dorothy, 260, 395 
Follansbee, Charles M., 120 
Folsam, Ida, 299 
Folsam, Mrs. Susie Jewett, 292, 
297 
Folsom, Julia, 191 
Folsom, Sarah A., 146 
Foote, Arthur, 134, 139 
Forbes, Mrs. H. B., 299 
Forbes, Joseph, 93, 96, 98, 115 
Ford, Frank, 254, 395 
Forsaith, Isabel S., 286, 395 
Fortier, Cecilia, 276 
Fortier, Germaine, 395 
Foss, Al, 340 
Foss, Benjamin F., 327 
Foss, Donald M., 255, 258, 395 
Foss, Edwin J., 191 
Foss, Esther A., 253, 263, 274, 


395 
Foss, Mrs. Harold, 294 
Foss, Marie E., 1 
Foss, Marion, 284, 395 
Foster, Barbara Lancey, 395 
Foster, Charles S., 395 
Foster, Mrs. Eva, 297 
Foster, Mrs. G. W., 222 
Foster, Hallett, 305 
Foster, Harriet, 146, 263 
Foster, Helen, 275, 311 
Foster, Jacob, 349 
Foster, Jane F., 321, 395 
Foster, Mabel W., 275, 

395 
Foster, R. R., 110 
Foster, Sherwood, 348 
Fournier, Lucien, 296 
Fowler, Annie, 161 
Fowler, Mrs. E. Beryl, 


305, 


288, 


395 
Fowler, Ida, 321, 395 
Fowles, Mrs. Addie. 293 
Fowles, A. W., 188. 297 


493 


Fowles, Mrs. A. W., 292, 294 
Fox, Carrie Browne, 395 
Fox, Mrs. Frederic, 222 
Fox, Martin B., 277 
Fox, Susan Whitney, 75, 76 
Foye, Charles, 157 
Foye, John W., 352 
Francis, George I Git oi 
Francis, Irma May, 294, 395 
Francis, Pearce, 255, 258, 263, 
273, 395 
Frank, Albert R., 200, 225 
Frank, Charles W., 352 
Frank. Bh. Clayton; 263,335 
Frank, Mrs. Henry P., 146, 
308, 395 
Frank, Ida, 304 
Frank, Raymond, 256 
Frazier, Mrs. Alice C., 119 
Frederic, Mildred, 349 
Frederick, Franklin R., 101 
Frederick, J. W., 101 
Fredette, Robert F., 256 
Freebourne, Mrs. James, 145 
Freeland, Mrs. G. B., 278 
Freeman, C. E., 261 
Freeman, Claire L., 146 
Freeman, Mrs. C., 190 
Freeman, Charlotte, 52, 56 
Freeman, Esther Rogers, 297 
Freeman, Mrs. F. W., 225 
Freeman, Ida May, 395 
Freeman, Joseph, 334 
Freeman, Malcolm W., 256 
Freeman, Mrs. Marion J., 260, 
396 
Freeman, Samuel, 14 
Freeman, William H., 353 
Freese, A. Langdon, 227, 396 
Fremstad, Olive, 248 
French, Dr. Alger W., 
French, Alice, 288 
French, A. O., 224 
French, Augustus H., 116 
French, Augustus S., 93 
French, Clarence M., 255, 258. 


39 
French, F. F., 179 
French, Foster, 347 
French, George F., 118 
French, George W.. 180 
French, Harry. 347 
French, Mrs. Henry P., 396 
French, Mrs. Leila B., 301, 311 
French, Leita Esther, 321, 396 
French, Mrs. Lilla, 226 
French, Lucien D., 297 
French, Lucille, 146 
French, Marian, 288 
French, Mrs. N. G., 294 
French, Mrs. Virginia M., 295, 


395 


157, 159 


494 


Friedman, Harold, 277, 396 

Friend, Mrs. Lilla, 276, 396 

Friend, Nellie A., 179 

Frier, Kurt, 337 

Fries, Wulf, 158 

Frohock, Mrs. Jeanette Mary, 
396 

Frohock, Louise, 321, 396 

Frohock, Roscoe R., 311 

Frost, Charles A., 337, 338 

Frost, Doris, 396 

Frost, Dorothy, 286 

Frost, Eben H., 94, 116 

Frost, Mrs. E. 'M.. 224, 396 

Frost, Eleanor L., "286, 287 

Frost, Ethola, 194 

Frost, Evelyn, 263 

Frost, Mrs. J. R., 226 

Frost, Mrs. Katie M., 396 

Frost, Mrs. Mary, 298 

Frost, Melvin, 347 

Frost, Nettie Bird, 301, 
396 

Frost, Rig 335 

_ Frost, Simeon A., 396 

Frost, Susan, 306 

Frost, William, 347 

Frye, Mrs. E. M., 224 

Fuller, Alice L., 396 

Fuller, Brinda, 191 

Fuller, Frank Richard, 397 

Fuller, Irene, 243 

Fuller, Mrs. Irma, 303 

Fuller, Mrs. Kathleen S908, 


302 
Fuller, Martha, 182 
Fuller, Mary, 181, 182, 300 
Fullerton, Mrs. Charles D., 
260, 397 
Fullerton, C. L., 263 
Fullerton, Mrs. C: Le 
ee Ethel, 146, Bree 264, 


302, 


Racoer Mrs. Florence, 306 
Furber, Mrs. Bertha S., 397 
Furber, Mrs. Harry O., 264 
Furber, Mrs. Julia, 196 
Furber, Miss M. W., 187 
Furbish, Clara, 182, 300 
Furbish, James, 69, 78 
Furbish, Jane, 185 
Furbish, Joshua, 323 
Furbish, Mrs. Louise, 102, 182, 
300, 301 
Furlong, Harold C., 256, 258, 
259, 261, 263, 273, 397 


G 


Gaddis, George D., 349 
Gaffney, Mrs. Stephen J., 260, 


274, 397 


Gage, Isaac, 52, 55 

Gage, Walter R., 309, 397 
Gage, William, 111 

Gale; HE 350 
Gamage, Joshua, 23 
Gammon, Alice, 223 
Gammon, Barbara, 349 
Gammon, Edward, 334 
Gammon, E. M., 159, 333 
Gammon, Mrs. F., 190 
Gammon, Pitt, 347 


Ganner, F. E., 397 
ee Ep Guy. P45 266; 
308, 3 


eee "tana M., 332 

Ganz, Rudolph, 248 

Garand, Rose A., 222 

Garcelon, Mrs. A. B., 280 

Garcelon, Helen Stowell, 397 

Garcia, Mme. Viardot, 176, 
208 

Garden, Mary, 172 


Gardenier, John Su) 256.5272 


Gardiner, Mrs. Florence, 275) 


Gardiner, G. W., 184 

Gardiner, Herbert R., 227 

Gardiner, Mrs. Lila, 290 

Gardiner, Mrs. W. H., 
278, 280 

Gardiner, Mrs. W. N., 222 

Gardner, Mrs. Damie R., 302 

Gardner, Mrs. Helen G., 146 

Gardner, Ralph, 180 

Gardner, Mrs. U. G., 226 

Gardner, W. H., 115 

Garland, Abbie, 114, 178, 179, 
277, 281, 397 

Garland, Mabel, 222 

Garneau, Rita, 296 

Garneau, Wilfred, 296 

Garner, Florence R., 249 

Garrand, Joseph, 342 

Garrity, James T., 336 

Gartner, Carl, 123 

Garton, Cedric H., 397 

Garvin, Harry, 285 

Gaskins, Josephine, 261. 

Gatchell, Herbert A., 297 

oe John Campbell, 286, 


Gatchell, Mark A., 297 
Gatley, Ernest, 523 
Gaudette, Anna, 397 
Gaudette, Willie, 342 
Gauvin, Marie, 295 

Gay, Gilbert RE 397 

Gay, Jabez T., 186 

Gay, Mrs. William F., 186 
Geer, Dr. George I., 254, 397 
Gelder, F. W. Van, 183 
Gellerson, Mrs. Rex, 288 
Gendreau, L. N., 297, 343 


177, 


BIOGRAPHICAL INDEX 


Genthner, Alice, 225 
Geoffrion, Mrs. L. P., 397 
Geopp, Philip He 490 4 
George, Mrs. Dorothy Bird, 
302 on 
Gerrish, Gertrude, 146 
Gerrish, H. G., 342 4 
Gerrish, Lester N., 255, 258, 


397 
Gerrish, Margaret, 149 | 
Gerrish, Stanley S., 255, 257, 
259, 263, 398 
Gerry, Alice, 142, 164 
Gerry, Mrs. Flora M., 249 
Gerry, Ruth May, 147 
Gerster, Etelka, 216 
Gervais, Jeannett C., 286 
Getchell, Lucille, 280 
Getchell, Mark, 398 
Getchell, William E., 316 
Getineau, D. D., 398 
Gibbs, F. C., 334 
Giboin, Bertha M., 398 
Giboin, George G., 297, 398 
Gibson, Arthur W., 350, 398 
Gibson, Edwin L., 254, 398 
Gibson, George, 398 
Gibson, Marcella, 304 
Gibson, Rita, 261 
Gibson, Theresa, 207 
Giddings, Moses, 179 
Gifford, Grace, 149, 150 - 
Gifford, Henry, 254, 255, 334, 


344, 350, 398 
Gifford, Hilda, 398 
Gifford, Mrs. Mary, 293, 297 
Giguere, Emile, 398 
Giguere, Lucien, 296 
Gilbert, B. F., 207 
Gilbert, Fred A., 227, 398 
Gilbert, Gordon, 296, 398 
Gilbert, Joseph Jean, 398 
Gilbert, M. B., 159 
Gilbert, Marion E., 313 
Gilbert, Raleigh, 8 
Gilbert, Mrs. Stephen P., 145 
Gilberte, Hallett, 398 
Gilchrist, Elon, 194, 226 
Gilchrist, Mrs. Elon, 194 
Gilcrease, Grace E., 277 
Gilder, Richard Watson, 228 
Giles, Edgar E., 334 
Giles, Erva Lucille, 399 
Giles, Eva, 226 
Giles, Harriet K.., 
Giles, Hazel, 226 
Gilkey, George P., 342 
Gilkey, John, 349 
Gilkey, R. E., 188 
Gillies, W. N., 337, 338 
Gillise, Mrs. Frank N., 264 
Gilman, Allen, 41 


223, 399 


BIOGRAPHICAL INDEX 


495 


ee. eee 


Gilman, Rev. Edward W., 116 
Gilman, Mrs. Henry, 275 
Gilman, Mrs. J. R., 294 
Gilman, Mrs. Sarah H., 261 
Gilmartin, John Reed, 256, 399 
Gilmore, Patrick S., 153, 200, 


232 
Gilpatrick, Ruth Gould, 290, 


399 

Gilpatrick, Mrs. Victor, 146 

Gilson, Bertha G., 146 

Ginn, Charlotte, 116 

Ginn, Isabel, 193 

Ginrich, A. D., 337 

Girouard, Marguerite, 146, 150, 
175, 293, 399 

Given, Fred, 253, 254, 312, 


fie ts 
Given, William H., 344 
Glass, Aline, 227 
Glazier, Marsters & Smith, 32 
Glazier, Phylis, 305 
Gleason, Mary, 186 
Gledhill, Mrs. Emma, 293 
Gledhill, Mrs. Warren W..,, 222, 
224, 294, 399 
Glidden, Charles, 109, 350 
Glidden, Earl, 303 
Glidden, Harold, 351 
Glover, George H., 340, 343 
Glynn, Thomas E., 162, 174, 


175 
Godfrey, John, 177 
Godfrey, Hon. John E., 115, 
LIG.076, 197 
Godfrey, Sophia Dutton, 177 
Godsoe, Mrs. Walter, 280 
Goff, Mrs. Marcia, 305 
Goff, Melvin, 185 
Gogorza, Emilio de, 227, 245, 


399 
Goldburg, Harry L., 399 
Goldthwait, Lizzie P., 191 
Goldwaithe, Mrs. John, 278 
Gondella, Felix, 305 
Gonya, Mrs. Ellie M., 298 
Gonya, Emma, 226 
Gooch, Fred, 335 
Gooch, John B., 335, 353 
Goodale, Ezekiel, 30 
Goodale, E. H., 338 
Goodall, Russell, 303 
Goodenough, Rev. Simon, 115, 
194 
Goodenow, Mrs. W. B., 279 
Goodhue, Albion Paris, 399 
Goodhue, Norma H., 288 
Goodkowsky, Mrs. Isaac, 294 
Goodnow, Mrs. C. W., 224 
Goodnow, Ellen V., 186 
Goodnow, Mrs. Frances M.., 
222, 225, 306, 399 


Goodrich, Abbie C., 186 

Goodrich, Earl E., 296 

Goodridge, Mrs. Anna French, 
290, 399 

Goodwin, Addie S., 199 

Goodwin, Arthur W., 353 

Goodwin, Rev. Daniel, 179 

Goodwin, Eva A., 146 

Goodwin, Harry, 349 

Goodwin, H. E., 400 

Goodwin, Mrs. J., 190 

Goodwin, Margaret, 146 

Goodwin, Mary E., 199 

Goodwin, Mrs. Mina, 298 

Goodwin, Nat., 200 

Goodwin, Paul E., 340 

Googins, Mrs. George, 191 

Googins, Mrs. H. R., 226 

Googins, H. T., 334 

Googins, Mary B., 400 

Goold, Walter, 161, 263 

Gordon, Howard, 345 

Gordon, Lincoln, 400 

Gordon, Mrs. Mabel, 400 

Gordon, Robert S., 224, 285, 
400 

Gordon, Walter, 179 

Gore, Mrs. Angie T., 400 

Gorey, Ridmond, 316 

Goshen, Alice, 192 

Goss, Mrs. Abbie, 293 

Goss, Mrs. Cecilia C., 297, 400 

Goss, Mrs. Charles, 292 

Goss, Edwin L., 222, 224, 225, 
297, 400 

Goss, Mrs. E. L., 294, 295 

Goss, George W., 188, 297 

Goss, Gertrude, 295, 321, 400 

Goss, Mrs. Grace S., 288 

Goss, Henry C., 224 

Goss, John, 297 

Goss, Mary E., 187 

Goss, William P., 155, 159 

Gosse, Mrs. George O., 119, 
TIO c12T 125 

Gosse, Julia N., 157, 159, 263 

Gottesfeld, Malvin David, 400 

Goudy, Alice, 146, 275 

Goudy, Mrs. Annie J., 146 

Goudy, Ellen C., 222 

Goudy, Mrs. Lewis A., 119, 
120, 146, 159, 164, 189 

Goudy, Louise, 146 

Gould, Bertha May, 400 

Gould, Edward, 70, 78 

Gould, Elizabeth M., 146 

Gould, Ethel, 293 

Gould, Everett, 347 

Gould, Mrs. George F., 258, 
259, 263, 273, 308 

Gould, Horace. 110 

Gould, Major John M., 70, 400 


Gould, Mae E., 321, 400 
Gould, Mrs. Maude G., 288 


Gould, Maud L., 226, 400 


Gould, Nathaniel D., 96, 116 

Gould, Orman, 347 

Gould, Mrs. Rose, 300 

Gould, Ruth, 146 

Gould, William E., 118 

Goulding, William F., 188 

Gove, Mary, 108 

Gowell, Mrs. G. M., 278 

Gowen, Fditha, 146, 400 

Gowen, Edwin A., 191, 192 

Gowen, George C., 155 

Gower, Annie Branscombe, 198 

Gower, Frederick A., 234 

Seuee Mary Malvina Stanley, 
19 

Graffam, Clinton W., 256, 272, 
273, 308, 400 

Grafton, John, 346 

Gram, Hans, 23, 34 

Grange, Madame La., 172, 176 

Granger, Charles Henry, 193 

Grant, Albert, 352, 353 

Grant, Allister (Sandy) Harris, 
263, 400 

Grant, Mrs. Camilla, 290 

Grant, Mrs. Dawn, 321, 401 

Grant, Donald F., 351 

Grant, Mrs. E. H., 294, 
AOI 

Grant, Flora, 182 

Grant, Florence E., 164 

Grant, George E., 191, 192 

Grant, Harvey E., 286, 2096, 
320 

Grant, Jessie F., 120, 146 

Grant, John F., 316 

Grant, Mabelle E., 264, 401 

Grant, Nicholas, 352 

Grant, Raymond H., 351 

Graves, Crispus, 13 

Graves, Ruth Marguerite, 303, 
304, 401 

Gray, Mrs. Madge, 303 

Gray, Fiddler, 63 

Gray, Francis, 305 

Gray, Frank L., 256, 259 

Gray, Lillian, 280 

Gray, Mary E., 4o1 

Gray, William Melven, 303, 
AOI 

Gregory, Mrs. Estella, 287 

Greeley, Mrs. Annie, 120, 164 

Greeley, Charles H., 343 

Greeley, Cyrus, 187 

Greeley, Elizabeth, 137 

Greeley, Hugh Paine. 137, 285 

Greeley, Mrs. H., 226 

Greeley, J. P., 179 

Greeley, John S., 352 


321, 


496 


Greeley, Mary Elizabeth, 124 
Greeley, Maurice L., 343 
Greeley, Mellen, 343 
Greeley, Nora Bartlett, 224 
Greeley, R., 119 
Greeley, T. H., 61 
Greeley, William E., 124 
Greely, B. L., 272, 334, 401 
Greemond, Alex, 342 
Green, Alfred, 332 
Green, Mrs. Carleton, 147 
Green, Mrs. Elva, 401 
Green, John, 349 
Green, Mrs. Joseph E., 309 
Green, Mrs. Mary Thompson, 
275, 313, 314 
Green, N. I., 28 
Green, Raymond K., 225, 401 
Green, Mrs. William, 147 
Greenhalgh, Faith W., 226 
Greenleaf, C. E., 188, 297 
Greenleaf, Mrs. E. D., 294 
Greenleaf, E. W., 188 
Greenleaf, Margaret, 293 
Greenleaf, Mrs. Nellie, 293, 
294. 
Greenough, James Bradstreet, 
132 
Greenrose, John, 351 
Greenwald, Joseph, 256 
Greenwood, A. T., 401 
Greenwood, Daniel, 303 
Greenwood, John, 303 
Grey, Charles Carroll, 401 
Grey, Victoria, 150, 253 
Griffin, Alice, 286 
Griffin, William, 340 
Griffith, Amos W., 200 
Griffith, Azubah F., 200 
Griffith, Emma F., 200 
Griffith, Grace A., 401 
Grimes, Mrs. Ella P., 301 
Grimmer, Charles, 158, 
161, P79; 31 BBu 480 
Grindle, Bruce, 354 
Grondin, Clarisse, 296 
Grossa, Rev. Joseph, 225 
Groudy, Clinton C., 351 
Grover, Mrs. Dana, 146 
Guertin, Aliette, 295 
Guielmette, Joseph L., 303 
Guild, Abner P., 93 
Guild, Mrs. E. K., 225, 226, 
288, 401 
Guild, Mrs. Mary A., 288 
Guild, Waldo Imlah, 277, 401 
Guilfoil, Flora, 277 
Guimond, A. J., 334 
Guimond, Charles A., 352 
Guimond, Samuel, 272, 334, 
352, 353 
Gunn, Charlotte, 146 


159, 


BIOGRAPHICAL INDEX 


Guptill, Juanita, 253, 401 
Gustafson, Mrs. Dorothy, 263 


H 


Hackett, Arthur, 144, 247, 401 

Hackett, Beatrice, 290 

Hackett, Constance Freeman, 
144, 402 

Hackett, Frances, 285 

Hadley, Henry K., 202 

Hagar, John F., 286 

Haines, Augustine, 53 

Haines, Beth E., 402 

Haines, Edward P., 78 

Haines, Mrs. Harold D., 264, 
402 

Haines, Mrs. Leon, 147 

Haines, Mrs. Mattie C., 288 

Haines, Mrs. Maude Huston, 
147, 260, 263 

Hahn, Mrs. Horace T., 146 

Hale, Almira, 52, 57 

Hale, Mrs. Chester, 226 

Hale, F. W., 202 

Hale, Harry E., 224 

Hale, Philip, 243 

Hale, Rebekah, 52, 56 

Haley, Dorothy, 289 

Haley, Eugene A., 281, 283, 


340, 402 
Hall, Mrs. Adelaide, 345 
Hall, Albert Bradish, 120, 255, 
256, 258, 347, 402 
Hall,-Alcada Lavinia, 302, 402 
Hall, Arthur, 346 
Hall, Charles, 347, 348 
Hall, Clarence E., 194 
Hall, Edna, 182, 300 
Hall, Elsie, 226 
Hall, Estelle M., 188, 189 
Hall, Ethel, 289 
Hall, Evelyn Arey, 402 
Hall, G. E., 190 
Halli, George O., 178 
Hall, George W., 347 
Hail, Grace, 311, 402 
Hall, Mrs. Hascall S., 304 
Hall, Howard E., 225, 402 
Hall, Jennie I., 226 ; 
Hall, J., 119 
Hall, Leonard, 335 
Hall, Luther, 196 
Hall, Lyman, 349 
Hall, Nellie, 187 
Hall, Oliver, 349 
Hall, Ruby Adelle, 403 
Hall, R. Bj 2178)> 222; 43345 
338, 339, 343 
Hall, R. G., 327 
Hall, Mrs. Sara. 226 
Hall, Mrs. W., 184 


-Hamlen, Mrs. James C., Jr. — 


Hallett, Anna Lee, 287, 290, © 
321, 403 a 
Hallewell, Alice, 294 
Halliday, Ada, 403 
Hallock, Mrs. L. H., 147 . 
Halverson, Alfred O., 255, 403 — 
Ham, Alice, 226 4 
Ham, Donald, 296 
Ham, Mrs. Jacob B., 294 
Ham, Margaret, 293 
Hamel, Joseph, 277 ¥ 
Hamilton, Charles G., 284, 403 — 
Hamilton, Earle, 335 
Hamilton, Emily, 275 
Hamilton, Fred, 254 
Hamilton, Gertrude B, 403 
Hamilton, Mrs. H., 224, 305 
Hamilton, Ira W., 256, 334, © 


403 
Hamilton, Leigh, 284, 4¢3 
Hamilton, Munroe, 256 
Hamilton, Mrs S. K., 191 
Hamlen, Charles E., 203 


258 
Hamlin, Dr. A. C., 179, 338 
Hamlin, Edwin M., 227, 403 
Hamlin, Hon. Hannibal, 179 
Hammon, Julia M., 187 
Hammon, J. T., 352 
Hammond, Edwards S., 286 
Hammond, Mrs. Lucy, 306 
Hammond, Wallace, 348 
Hammons, Charles, 194, 305 
Hammons, Seldon, 305 
Hanley, Carrie, 280 
Hanley, Celia C., 403 
Hannaford, C. W., 350° 
Hanscom, Andrew, 195 
Hanscom, Andrew J., 349 i 
Hanscom, E. W., 188, 189, 190, — 

207 4 
Hansen, Cornelius, 352 
Hanson, Alice, 278 
Hanson, Mrs. Grace E., 403. 
Hanson, J. Arthur, 258, 273, | 


403 4 
Hanson, James W., 277, 403 
Hanson, John, 225 a 
Hanson, Lucy M., 101 
Hanson, Mabel, 278 
Hanson, Marjorie, 299 ‘g 
Hanson, Mary L., 101, 146 
Hanson, Mollie, 226 . 
Hapgood, Mildred, 226 
Haraden, Daniel, 61 
Harding, Grace, 275 
Hardy, Frank W., 113 
Harford, Mrs. Fanny, 146 
Harking, Mary, 164 
Harkness, Vinton Orris, 403 7 
Harlow, A. D., 115, 179, 338 


BIOGRAPHICAL INDEX 


Harlow, Etta, 189 

Harlow, Fred, 340 

Harlow, Hannah C., 189 

Harlow, Mrs. Jane Phinney, 
274 

Harlow, Lizzie D., 189 

Harlow, Mrs. Lottie, 293 

Harlow, Roy, 345 

Harlow, Walter, 249 

Harmon, Mrs. B. F., 286 

Harmon, Carl, 224 

Harmon, Charles, 194 

Harmon, Edna C., 306 

Harmon, Glen, 255 

Harmon, Harriet B., 146, 403 

Harmon, Harry T., 120 

Harmon, Mrs. Lima, 287 

Harmon, William, 333 

Haroden, Charles, 341 

Harper, John, 403 

Harriman, Elizabeth, 149, 272 

Harriman, Mrs. Pearl W., 293 

Harriman, Ruby Weston, 403 

Harrington, Adeline, 65 

Harrington, Annie, 181 

Harrington, Francis, 64, 346 

Harrington, Jacob, 65 

Harrington, Prof. Karl P., 225, 
277, 403 

Harrington, Margaret, 302, 403 

‘Harrington, Russell, 272 

Harrington, Sarah, 64 

Harrington, Woodbury P., 222, 
255, 334, 403 

Harris, Augusta, 234 

Harris, Emily, 196 

Harris, Herbert, 196, 222 

Harris, H. T., 66 

Harris, Mrs. J. Spencer, 289 

Harris, John T., 88 

Harris, Lydia, 78 

Harris, Mabel Johnson, 
225, 295, 403 

Harrison, Charles, 248, 249,253; 

Mrs. 


404 
Herbert C., 
258, 273, 404 


Harrison, 
Hart, Almond J., 285 
Hart, Mrs. W. R., 285 
Hartley, Mrs. Grace, 290 
Hartshorn, Mrs. W. H., 224, 
292, 293 
Hartshorn, Mrs. W. W., 222 
Hartwell, Angeline, a5 
Hartwell, Benjamin, 33 
Hartwell, Mrs. Benjamin, 33 
Hartwell, Charles, 340 
Hartwell, Edward, 32, 33 
Hartwell, Emmeline, 32, 184 
Hartwell, Frank, 184 
Hartwell, Lysander W., 93 
Hartwell, Mary S., 33 


196, 


Hartwell, Samuel, 32 
Harvey, Edith L., 404 
Harvey, Jeanette H., 286 
Harvey, Mrs. Lena, 288 
Hascall, Carl C., 256 
Hascall, Ralph, 195 
Haseltine, Amanda, 191 
Haseltine, F. H., 350 
Haskell, Alice, 222 
Haskell, Benjamin, 272 


Haskell, Carrie A., 14 

Haskell, Mrs. Charles, 274, 
275 hes 

Haskell, Christine Daggett, 


404. 
Haskell, Edith, 305 
Haskell, Ernest, 334 
Haskell, Mrs. 
185, 275 
Haskell, Mrs. Jennie, 185 
Haskell, Mae F., 263, 297 
Haskell, Norman Edwin, 404 
Haskell, Mrs. Ralph G., 294 
Haskell, R. J., 348 
Haskell, Mrs. Sarah W., 186 
Haskell, Walter F., 222, 225 
Haskell, William, 89 
Haskell, William H., 164 
Haskill, Marion, 404 
Hassell, Mrs. Rena, 290 
Hastings, Luke, 65 
Hastings, W. P., 325 
Hatch, Alice Louise, 404 
Hatch, Asa, 65 
Hatch, Carolyn, 305 
Hatch, Mrs. Florence W., 404 
Hatch, Harold, 404 
Hatch, Katherine, 149, 272 
Hatch, Mrs. Robert, 146 
Hatch, Stephen, 65 
Hatch, Walter, 351 
Hatch, Wilma, 288 
Hatch, William, 65 
Hathaway, Mrs. Helen A., 298 
Haupt, August, 123 
Havey, Mrs. Ethel, 287 
Haviland, Mrs. Foster L., 146, 
149, 253, 263, 264, 404 
Havner, Jacob, 255, 341 
Havner, William J., 194 


Hawes, Cornelius K., 173, 263, 
326 

Hawes, Ellie, 305 

Hawes, Mrs. Fannie C., 120, 
145, 159, 160, 164, 172, 173 

Hawes, J. Q. A., 89 

Hawes, Mrs. Martha F. B., 


119, 146, 260 
Hawkes, Mrs. Ina, 305 
Hawkes, May A., 224, 226 
Hawkins, Louise, 404 


Frank O., 146, 


497 


Hay, Mrs. Alice, 147 

Hay, Mrs. Harry, 404 

Hay, James D., 52, 55, 65 

Hay, Merrill, 272 

Hay, Mrs. Walter F. W., 404 

Haycock, Allan, 225, 284, 404 

Haycock, Mrs, Allan, %284, 
321, 404 

Hayden, Elsa M., 302, 404 

Hayden, Emma, 195 

Hayden, Ethel Lee, 302, 405 

Hayden, Mrs. Etta W., 183, 
184 

Hayden, Prince S., 256 

Hayden, Victoire, 203 

Hayden, Villa, 321, 405 

Hayes, Earle, 405 

Hayes, Edith H., 297 

Hayes, Elizabeth, 222, 405 

Hayes, R. B., 188 

Hayes, Mrs. W. D., 285 


Hayford, Mary H., 280, 308, 
405 

Haynes, Alma, 178 

Haynes, Edward A., 348 

Haynes, Hazel Giles, 405 

Haynes, James H., 177, 180, 
283, 340 


Haynes, Mrs. J. H., 180 

Haynes, Martin H., 316 

Haynes, Rodney, 348 

Haynes, Mrs. William H., 405 

Hayward, Miriam, 299 

Hazel, Mrs. Ada H. E., 1 

Hazell, Thomas E., 317 

Hazeltine, Daniel, 30 

Hazeltine, Major P. R., 61 

Head, Mae C., 306 

Heald, Stephen C., 224 

Healey, Tileston, 64 

Healy, Augusta, 150 

Healy, Rt. Rev. James A. 
264 

Heard, David, 27 

Heath, Cora F., 293, 294 


Heath, Effie Mae, 293, 294, 
405 

Heath, Lyman, 110 

Heath, William, 182 

Heaton, George, 303 

Hebert, Mrs. Annie, 260 

Hebert, fee 1600274, 
305, 4 


Hoe William Ge 
Haines, Beth, 305 

Hedrich, Mrs. Lawrence, 299 
Hefferman, William, 303 
Heim, Gustav, 405 

Helie, Leonard, 305 
Hemenway, Martha V., 146 
Henderson, C. J., 249 


Henderson, Thomas, 227.405 


498 


BIOGRAPHICAL INDEX 


Hendrickson, Henry L., 352 

Hendry, Mrs. James, 146 

Hennessey, Wilfrid A., 227, 405 

Hennigar, Prudence Melba, 
274, 405 

Henry, Arthur, 342 

Henschel, Georg, 175, 217 

Hermes, Emil, 224 

Hern, Floyd, 256 

Herrick, A. E., 224 

Herrick, Mrs. Earle, 285 

Herrick, Mrs. Eliza, 306 

Herrick, Franklin, 197 

Herrick, Maria A., 187 

Herrick, Nathan, 197 

Hersey, Mrs. Abbie, 293 

Hersey, Fannie, 297 

Hersey, Mattie E., 189 

Hersey, Gen. Samuel F., 179 

Hescock, Mrs. R. M., 226 

Heth, Mrs. Fannie T , 294, 405 

Hewins, Charles Knowlton, 405 

Hewins, Violet Eva, 405 

Hewitt, George W., 66 

Hewitt, Mrs. Vivian, 302 

Heydrie, Gus, 353 

Hicks, Charles Edgar, 405 

Hicks, C. H., 334 

Hicks, Dorothy Doe, 226, 280, 


40 
Hicks, Fred W., 340 
Hicks, Herbert Crosby, 
6 


40 
Hicks, Mrs. Myrtie, 286 
Higgins, Dwight, 277 
Higgins, Frances O., 277 
Higgins, Marguerite, 146 
Higgins, Richard, 277 
Hight, Mrs. Leroy Tee 27 
Hill, Brenda Frances, 224, 285, 


406 

Hill, Dora M., 406 

Hill, Douglass, 353 

Hill, Edward B., 134 

Hill, Emily, 297 

Hill, Ernest D., 277 

Hill, Ernest J., 225, 227, 255, 
266, a5. 260, 406 

Hill, Ernest Richard, 277, 406 

Hill, Mrs. FE. Ri, 277 

Hill, Ethel Cary, 406 

Hill, Mrs.-F, D222 

Hill, Fred Lincoln, 157, 255, 
256, 258, 263, 264, 273, 406 

Hill, George T., 224, 303, 406 

Hill, Harriet, 295, 4 

Hill, Helen io Te 

Hill, Julia, 191 

Hill, Margaret, 306 

Hill, Marion E., 277 

Hill, Mrs. Martha H., 
222, 227, 263, 406 


340, 


146. 


Hill, Nancy, 189 

Hill, Pauline Philbrick, 184 
Hill, Virgie, 226 

Hill, Dr. W. Scott, 19% 

Hills, June K., 226 

Hills, Mrs. Louis, 146 

Hilton, Ernest Gs eb pee U2 
Hilton, William Keene, 224, 407 
Hiltz, Grace, 175 

Hinckley, Judge Aaron, 328 


Hinckley, Harold, 224, 227, 
407 

Hinckley, Myra, 280 

Hinckley, Mrs. Willard M., 
224, 407 


Hinds, D. Carter, 316 

Hinds, Leo P., 407 

Hinton, Ma Weeks, a 407 
Hitchcock, Pin Emily C 4 401 
Hitchcock, Mrs. F. E., 301 
Hitchcock, Raymond, "285 
Hitchings, Marion T., 227, 287, 


407 
Hobbs, Mrs. Esther C., 
Hobbs, Frederic, 98 
Hobbs, Henrietta, 202 
Hobbs, ti Ce 343 
Hobbs, Jesse Percival, 407 


260 


Hobbs, R. M., 191 
Be Carrie, 178, 180, 
261 


Hodgdon, Ed., 340 
Hodgdon, F. N., 153, 191 
Hodgins, Eliza B., 290, 407 
Hodgkins, Charles E., 156 
Hodgkins, Mrs. Iva Nutter, 
263, 407 
Hodgkins, Marjorie, 149 
Hodgkins, Mrs. M. A., 191 
Hodgkins, William A., 191 
Hodgman, William A., 407 
Hodgman, William C., 297 
Hodsdon, H. B., 225, 353 
Hodsdon, J. L., Jr., 191 
Hogan, M. Frances Flannigan, 


283 
Holbrook, Annie, 180 
Holbrook, John, 180 
Holbrook, Mabel, 302, 303 
Holden, Esther J., 1 
Holden, Esther L., 263 
Holden, L. E., 114 
Holden, William, 115 


Holden, William E., 155, 159 
Holding, Ada, 297 
Holding, Franklin, 222, 226, 


241, 311 
Hollinrake, Annie, 306 
Hollister, Leona Stevens, 313, 
408 
Hollister, Dr. Orlando K., 318 
Hollister, Rachel, 318 


Holman, Mrs. F. H., 293 
Holman, Mrs. Millie, 293 
Holmes, Annie C., 146, 226 
Holmes, Bessie E., 226 

Holmes, Mrs. 

286 

Holmes, Mrs. Marcia, 261 
Holmes, Oliver Wendell, 


133 
Holmes, Sarah, 65 
Holmes, William T., 48 
Holmstrom, T., 354 
Holmstrom, Veli, 354 
Holt, Rev. Fifield, 99 
Holt, George, 336, 338, 347, 

8 


34 
Holt, G. Dana, 344, 347, 408 
Holt, Georgia, 278 
Holt, Mrs. Henrietta B., 288 
Holt, Herschel B., 348 
Holt, Mary B., 99 


Holt, Thomas ’Paine, 347, 408 “a 


Homer, Alice T., 275 
Homer, Florence, 321, 408 
Homsted, Mrs. Grace F., 145, 


227 
Hood, Walter J., 255, 408 
Hooper, Sarah, 261 
Hopkins, George, 300 
Hopkins, Helen, 288 
Hopkins, Inez, 161 
Hopkins, Mary F., 226, 408 
Hopkins, Mrs. M. L., 408 
Hopkins, Ruth, 288 
Hopkins, Sarah, 288 
Hopkinson, Francis, T? 
Horan, Mrs. Marion Priestly, 
146, 150, 253, 275, 408 
Horgan, Marie, 408 
Horn, Vivian, 348 
Horne, Carrie A., 189 
Horne, Mrs. Fannie Hight, 408 
Horne, George Wallace, 297, 
321, 408 
Horne, Herman L., 224 
Horne, Mrs. H. L., 225, 226 
Horne, Rosalle, 293 
Hosmer, Austin, 342 
Houghton, Harry L., 
1S450G8 
Houghton, John Cecil, 409 
Houghton, Mrs. John R., 195 
Houle, Dr. E. J., 285 
Houle, Mrs. E. J., 285 
Houlihan, Annie L., 409 
Houston, Mrs. Ruth. 409 
Hovey, Alice C., 409 
Hovey, Edward, 64 
Hovey, Lizzie L., 146, 263 
Hovey, Mary A., 103 
Hovey, Mrs. Maude, 256 
Howard, Charles H., 316 


118, 


Emily Baxter, 


132) 


ae 
5 


119, 4 


BIOGRAPHICAL INDEX 


499 


Howard, Eleanor, 321, 409 
Howard, Mrs. Helen W., 313 
Howard, Mrs. Lester B., 276, 


277 
Howard, Lilla M., 293, 294, 297 
Howard, Ralph Ellsworth, 409 
Howard, Sidney K., 93, 115 
Howard, William R., 154, 164 
Howard, W. S. K.. 79 
Howarth, Elsie G., 409 
Howe, Chester, 161 
Howe, Edward, 42, 43, 51, 52 
Howe, E., Jr., 80 
Howe, Etta M., 409 
Howe, G. Allen, 286, 297 
Howe, George M., 86, 87, 117, 
Ee ti0, 157 
Howe, George W., 321, 409 
Howe, Ralph Thurston, 297 
Howe, Reginald M., 409 
~ Howe, Mrs. Rose, 292 
Howell, Anna D., 146 
Howells, William Dean, 132 
Howes, Aaron, 300 
Howes, Mrs. E. L., 264 
Howes, Florence, 261 
Howes, Grace Bramhall, 
409 
Howes, Mrs. Grace M., 409 
Howes, Helen C., 259 
Howes, Mrs. Henry M., 186 
Howes, Mrs. Ralph H., 193 
Howes, Sarah, 101 
Howland, Charles F., 349 
Howland, Mrs. Eliza, 191 
Howland, George, 349 
Howland, Harry M., 284, 409 
Howland, John, 170 
Howland, Mrs. John, 195 
Hoy, Mrs. Glenda R., 298 
Hoyt, John, 179 
Hoyt, Mrs. Martha, 196 
Huart, Victor, 349 
Hubbard, Charles Pigea24 
Hubbard, Mrs. Elizabeth, 89 
Hubbard, Mrs. Frank B., 304 
Hubbard, Fred F., 256, 272, 


284, 


353 

Hubbard, Mrs. Jessie, 409 
Hubbard, W. L., 137 
Huber, Mrs. H. G., 147 
Hudson, Alice H., 146 
Hudson, Doris, 286 
Hudson, Ethel F., 409 
Hudson, John B., 52, 56 
Hughes, Mrs. Ina, 290 
Hughes, 


409 
Hull, Mrs. Charles F., 409 
Hulley, Mrs. H. R., 285 
Hulten, Rudolf, 409 
Hume, Mrs. Lena L., 410 


Minnie Currie, 290, 


Humphrey, Asa, 332 

Humphrey, A. H., 352 

Humphrey, Clifton, 350 

Humphrey, Hannah, 52, 57 

Humphrey, Henry Baker, 263, 
272 

Humphrey, Homer C., 225, 410 

Humphrey, Orman B., 283 

Humphrey, Roland, 272 

Humphreys, Agnes W., 222 

Hunnewell, F. S., 178 

Hunnewell, Mrs. Nellie M., 224 

Hunt, Arthur B., 17 

Hint hs. 750 

Hunt, Bessie, 222 

Hunt: C. i... 100 

Hunt, L. B., 286 

Hunt, Madeline, 305 

Hunt, Ralph Waldo Emerson, 
254, 273, 410 

Hunt, Rev. W. R., 224 

Hunter, Abby, 186 

Hunter, Annie F., 224 

Hunter, Charlotte B., 186 

Hunter, F. H., 350 

Hunter, Herbert eu Ao 955, 


410 
Hunter, Julia S., 186 | 
Hunter, John M. S., 186 
Hunter, Susan C., 186 
Huot, Lawrence H., 340 
Hurd, Charles A., 352, 353 
Hurd, Everett S., 284, 410 
Hurd, Herbert A. D., 264, 288, 
321, 410 
Hurley, Annie, 178, 278 
Hurley, Arione, 261 
Hurley, Marion, 226 
Huse, Mrs. Oscar E., 289 
Huse, Mrs. Thomas W., 101 
Huskins, Maude, 293, 294 
Hussey, Mrs. Alvan, 184 
Hussey, Flora Edna, 290, 410 
Hussey, N. H., 184 
Hussey, Nettie S., 184 
Huston, A. G., 184 
Huston, Lizzie, 184 
Huston, Mrs. Louis, 146 
Hutchings, Mary, 182 
Hutchins, Charles C., 286, 410 
Hutchins, Robert J., 340 
Hutchinson, Mrs. A. J., 
224 
Hutchinson, Mrs. Paul, 146 
Hutchinson, Wallace, 347 
Huxford, May, 410 
Hybert, Dorothy E., 410 
Hybert, Emil, 272, 334, 410 
Hyde, Allan, 345 
Hvde. Annie H., 195 
Hyde, Arthur S., 
225, 263, 306, 307 


232, 


149, 195, 


Hyde, Ethel, 195, 227, 239 
Hyde, Frederic Clarendon V., 


275 

Hyde, Frieda A., 263 
Hyde) John"S,.-224. 285 
Hyde, Mary C., 115 
Hyde, Gen. T. W., 195 
Hyde, Mrs. T. W., 195 
Hyde, William, 28, 111 
Hydrie, Augustus C., 352 
Hyler, Mrs. W. H., 285 


I 


Thnenfeldt, Willliam, 161 

Illingworth, Master Sergeant 
William, 337 

Ilsley, Ann, 77 

Ilsley, Arthur L., 70, 72, 74, 77, 
78, 82, 97, 117 

Ilsley, Benjamin, Co saty 

Ilsley, Benjamin A., 225 

Ilsley, Charles P., 87 

Ilsley, Charlotte, 261 

Ilsley, Elizabeth, 77 

Isley, Esther, :70) 72, ‘74; 97 

Ilsley, Ferdinand I., 52, 54, 69. 
Ti fo1 a 

Ilsley, Francis L., 
76, 77, 78, ee 

thes Frederick J., 

Ilsley, George, 77 

Isley, Hosea, 43, 52, 53, 74, 
ise deta: 

IIsley, Joseph, 53, 54 

Ilsley, Louise, 151 

Ilsley, Nathaniel, 52, 54, 56 

Infiorati, Owen F., 283, 340 

Ingalls, Mrs. Alice, 306 

Ingalls, Arthur D., 410 

Ingalls, Mrs. Arthur D., 410 

Ingalls, Mrs. Willis E., 306. 


2) 50,274, 


410 
Ingersoll, Alice, 226 
Ingerson, Dorothy, 287, 288 
Ingraham, Achsah, 65 
Ingraham, Benjamin, 340 
Ingraham, Deborah, 276 
Bp yeaa Edward T., 52, 54, 
4 
Ingraham, Harold, 334 
Ingraham, Harry, 255 
Ingraham, Mrs. H. B., 64 
Ingraham, Mrs. Horace, 276 
Ingraham, Henry, 6° 
Ingram, H. W., 334 
Ingram, W. K., 334 
Inman, Ernest Ira, 410 
Inman, Harold M., 283 
Irish, Allen, 224, 285 
Irish, Bertha, 293 
Irish, Horace A., 224 


500 


BIOGRAPHICAL INDEX 


Trish, Mrs. H. A., 102, 225 
Irish, Lewis M., 411 

Irish, Luther M., 411 

Irish, Phyllis, 287, 288 

Irvine, Mrs. Margaret, 287 
Ives, Mrs. Rollin Augusta, 142 


it 


Jackson, Addie, 160 

Jackson, Andrew, 249, 250, 258, 
263, 266, 411 

Jackson, A. F., 188 

Jackson, Mrs. A. P., 411 

Jackson, Edgar, 350 

Jackson, Dr. E. F., 328 

Jackson, E. G., 161 

Jacksongtk. i. 273 

Jackson, H., 66 

Jackson, H. H., 316 

Jackson, Helen, 180 

Jackson, Joseph H., 222, 224 

Jackson, Joseph J., 411 

Jackson, Julia Heath, 146, 285, 
All 

Jackson, Louise F., 298, 411 

Jackson, Nellie, 264, 303 

Jackson, S. W., 180 

Jacobs, Mrs. Anna, 303 

Jacobs, Emily Augusta, 198 

Jacobs, Isaac S., 186 

Jacobson, Jacob N., 254 

Jacques, Mrs. A., 295 

Jacques, Mrs. F. W., 223, 280 

Jagoe, Henry, 343 

Jalbert, Arthur, 296 

Jameson, Mrs. Harry P., 225, 
226 | 

Jameson, Rose Wedgwood, 411 

Jamieson, James Wier, 263 

Janelle, Wilfred, 342 

Jenkins, Mrs. Arlene, 290 

Jenny, Mrs. Dorothy, 290 

Jarrett, Florence E., 411 

Jefferson, Mrs. Annie, 297, 411 

Jellison, Alice S., 223 

Jellison, Marjorie, 226 

Jenkins, Alene Berrie, 411 

Jenkins, Mrs. Augusta M., 411 

Jenkins, Mrs. Gertrude H., 298 

Jenkins, Mrs. Raymond P., 
280, 284 ; 

Jenks, A. H., 52, 56 

Jenney, Dorothy Perkins, 411 

Jennison, Sidney E., 351 

Jensen, Martin L., 254, 411 

Jepson, Mrs. E. M., 304 

Jepson, D. H., 178 

Jewell, Mrs. Angeline Hart- 
well, 184 

Jewell, Edna, 306 

Jewell, Gertrude, 306 


Jewell, Mrs. H. Li, -196,> 177, 
224. 276, 280; 412 

Jewett, Albert G., 61 

Jewett, Annie, 191 

Jewett, Hon. G. K., 179 

Jewett, Mrs. Helen Nason, 
421. AT? 

Jewett, Joshua, 33 

Jewett, Stephen, 28 

Johns, Clayton, 134 

Johnson, Mrs. Alice, 288 

Johnson, Mrs. Alton G., 249 

Johnson, Annie Hamilton, 275 

Johnson, Arthur, 194, 305 

Johnson, Barbara, 305 

Johnson, Carl, 255, 258, 412 

Johnson, C. C., 344, 412 

Johnson, Charles, 275, 340, 344 

Johnson, Clyde, 289 

Johnson, Daniel, 349 

Johnson, Edna, 287 

Johnson, Rev. Edwin, 116 

Johnson, Eugene Francis, 199 


Johnson, Mrs. Florence L., 260,. 


263 

Johnson, Prof. F. W., 224, 304 

Johnson, Mrs. F. W., 226, 304 

Johnson, Mrs. Harold D., 148, 
274, 412 

Johnson, Harry T., 273, 412 ' 

Johnson, Mrs. Hattie C., 293 

Johnson, Helen, 300 

Johnson, Horace, 343 

Johnson, Inez E., 146 

Johnson, I. S., 179 

Johnson, Isa W., 412 

Johnson, John D., 155 

Johnson, Mrs. Josiah H., 146, 
148, 412 

Johnson, Mabel, 293 

Johnson, Marie, 300 

Johnson, Marion, 263 

Johnson, Mrs. Marguerite Allen, 
147; 150,660, 9402 

Johnson, Margaret Wilson, 253, 
302 412 

Johnson, Maude, 280 

Johnson, Mrs. Merle H., 412 

Johnson, Ralph H., 412 

Johnson, Richard, 305 

Johnson, Mrs. Rupert G., 412 

Johnson, Ruth, 287 

Johnson, Samuel, 87 

Johnson, Samuel Worth, 341 

Johnson, Stephen, 151 

Johnson, Mrs. Sumner E., 412 

Johnson, Mrs. Theodore H., 
146, 148, 412 

Johnson, Thomas, 
334, 335, 412 

Johnson, W. Alonzo, 283 

Johnston, Harry F., 412 


254, 272, 


Johnston, Ray, 288 
Johnston, Ursula, 147, 412 
Jones, Mrs. Abbie A., 186 
Jones, Alex, 88 
Jones, Alice, 294 
Jones, Charles F., 159, 
254, 263, 326, 412 
Jones, Charlotte, 412 
Jones, Clifford L., 258 
Jones, Dorothy, 147, 149 pt 
Jones, Elizabeth S., 142, 148, 
182 (7a 
Jones, Embert L., 313, 412 
Jones, Ernest L., 412 
Jones, Frank, 155 
Jones, Fred C., 179 
Jones, Mrs. F. R., 145 
Jones, Mrs. George, 146 
Jones, George D., 316 
Jones, Gladys St. Clair, 412 
Jones, G. Edlon, 297 
Jones, Grace, 146 
Jones, Harold L., 277 
Jones, Harriet, 52, 57, 102 
Jones, Herbert G., 256 
Jones, H. M., 159 
Jones, Isabelle, 412 
Jones, James, 316 
Jones, Mrs. Joyce, 302 
Jones, Mrs. Leland, 288 
Jones, Mrs. Linwood M., 280, 
285 ‘ 
Jones, Mrs. L. B., 412 
Jones, Lizzie, 297 


253, 


. Jones, Lloyd, 284, 413 


Jones, Louise, 146 

Jones, Louis M., 159 

Jones, Mrs. L. R., 295, 413 

Jones, Luther A., 351 a 

Jones, Mollie, 150, 157, 272, % 
413 

Jones, Oscar W., 297 

Jones, Mrs. Oscar W., 294 

Jones, Samuel, 96 ; 

Jones, Selden, 277 

Jones, Sidney F., 350 

Jones, Sybil, 413 

Jones, Thomas, 201 

Jones, Mrs. Vena, 290 

Jones, W. TL, 188 

Jones, Mrs. William H., 413 

Jordan, Alice M., 146 

Jordan, Mrs. Arthur, 324 

Jordan, A. W., 119 

Jordan, Belle, 275 

Jordan, Bessie M., 226 : 

Jordan, Charles F., 340 ’ 

Jordan, Charles Linwood, 413 — 

Jordan, Mrs. Charles W., 185 

Jordan, Edward A., 159, 161, | 
$43) 345" 4 

Jordan, Elsie, 203 


—- 


BIOGRAPHICAL INDEX 


501 


Jordan, Eva Belle, 146, 226 

Jordan, Mrs. Evelyn, 263 

Jordan, Mrs. Ervette, 260, 413 

Jordan, Fannie E., 119, 164 

Jordan, Flavel R., 297 

Jordan, Frank E., 188 

Jordan, Harold, 255, 258, 413 

Jordan, Mrs. Ida, 293 

Jordan, Julius, 175 

Jordan, J. B., 190 

Jordan, Lillian M., 150 

Jordan, Lindell, 296 

Jordan, Lucy H., 146 

Jordan, Margaret S., 146 

Jordan, Marion, 275 

Jordan, Mary G., 146, 150, 311 

Jordan, Maurice, 296 

Jordan, Mildred, 294 

Jordan, Nellie W.. 289 

Jordan, William P.., 119 

Jose, Helen N., 146 

Jose, Horatio N,, 147 

Jose, Mrs. oe N., 
143, 147, I 

Joslin, James + retcalt, 286, 413 

Josselyn, Walter L., 254, 256 

Joy, Clarence, 413 

Joy, Hannah, 110 

Joyce, Lillian, 302 

Juch, Emma, 190 

Judelshon, Leah, 413 

Judkins, Florence, 294, 413 

Judkins, Mrs. Myrtie B., 301 

Jungnickel, Henri M., 110, 123 


142, 


K 


Kahill, Mrs. Joseph B., 


274, 413 
Kalloch, Oscar, 300 
Kalloch, Mrs. Oscar, 300 
Kallock, Augusta, 299, 413 
Kallock, Joseph H., 225 
Kane, Anastasia 413 
Kane, Mrs. J. H., 278 
Kaplan, Tillie, 147, 413 
‘Karkos, Stephen J., 286 


146, 


Kavanaugh, Albert L., 222, 
224, 295, 297, 413 
Kavanaugh, Mrs. Albert L., 


294, 295 
Kavanaugh, Mrs. Maude, 293 
Keaser, Fred, 351 
Keating, Agnes, 146, 274, 275, 
287, 413 
Keating, Caroline, 181 
Keenan, Katherine Ricker, 413 
Keenan, Mrs. Matthew, 144 
Keene, Abdon Wilder, 413 
Keene, Ada, 306 
Keene, Mrs. Alfred, 306 


Keene, Frances M., 414 
Keene, Mrs. H. N., 102 
Keene, Mrs. Joseph, 294 
Kehbahn, Heinrich, 123 
Keith, Warren, 277 
Kellam, Mrs. Belford, 299 
Keller, Annie, 196 
Keller, Conrad, 352 
Kelley, Mrs. Edbert, 
Kelley, Mrs. H. A 
Kelley, Emily, 142 
Kelley, Helen, 150, 256 
Kelley, Mrs. Helen S., 414 
Kelley, William, 154 

Kellogg, Clara Louise, 216 
Kellogg, Rev. Elijah, 35 
Kellogg, Joseph H., 52, 55 
Kelly, James M., 352 

Kelly, Mrs. James, 275 

Kelly, Marion Adelia, 147, 305, 


414 

Kemball, Harold V., 273, 414 
Kemmerer, Olin B., 297 
Kempton, George E., 179 
Kendall, Prof. Abbott, 351 
Kendall, Arthur F., 255, 414 
Kendall, Ned, 346, 350 
Kendall, Guy P., 258 
Kendall, J. A., 414 

Kendrick, C. M., 191 
Kennard, Ada B., 120, 160 
Kennard, E. S., 225 
Kennedy, Annie S., 414 


224, 304 
sere 


‘Kennedy, Delma, 146 


Kennedy, Frederic, 414 

oe Frederick A., 227, 
2 

er naa: Herbert S., 255, 256, 
414 

Kennedy, Jane, 272, 415 

Kennedy, Janet, 149 

Kennedy, Walter I., 256 

Kenneston, Loreta, 302 

Kenney, Mrs. Clara A., 415 

Kenney, Joseph, 335 

Kennison, Mrs. George A., 304 

Kenworthy, Mrs. W. H., 276, 
286, 415 

Kerr, Lena, 415 

Kerr, William F., 256 

Kertello, E. C., 66 

Kettembile, Mrs. George, 145 

Keyes, Mrs. Carlotta, 287 

Keyes, Richard, 285 

Keyser, William, 81 

Kidder, Archie, 348 

Kidney, Mrs. Fred. 415 

Kidney, Mrs. Louise, 287 


Kilbourne, Mrs. Joseph W.., 
146 
Kilbourne, Mrs. Scott Lesley, 


415 


Kilbreth, Bert, 348 

Kiley, Mrs. Eunice M., 145 

Killam, Rev. Py A.” A., 225 

Kimball, Alice A., 299, 415 

Kimball, Eliza, 61 

Kimball, Mrs. Elizabeth D., 88 

Kimball, Emily, 165 

Kimball, Evelyn, 173 

Kimball, Frank, 353 

Kimball, Mrs. George, Sr., 181 

Kimball, Harry F., 183, 184, 
188, 224, 225 

Kimball, James, 52, 54 

Kimball, Jeremiah. 42, 54 

Kimball, Kathleen, 415 

Kimball, Uncle Steve, 316 

Kimball, Susan S., 61 

Kimball, Willard, 198, 263, 


272 
Kimball, Dr. William H., 224 
Kimball, Mrs. William W., 


274. 

Kincaid, Mrs. Steward, 18 

Kinder, Ralph, 267 

King, Bertha, 146 

King, Elizabeth, so 263 

King, Ethel F., 

King, Rev. fae M., 203 

King, Jennie S., 146 

King, Marietta, 146, 164 

King, Maurice P., 283, 340 

King, Mrs. Maurice, 280 

Kins. Ro BS 169 

King, Ruth, 226, 298 

King, Wallace, 120 

Kingsbury, Carrie M., 226 

Kingsbury, John, 78 

Kingsbury, Joseph, 74, 77, 78, 
87 

Kingsbury, Mrs. Sarah, 78 

Kingsley, Charles, 133 

Kinney, Mrs. Charles, 287 

Kinsley, Mrs. E. A., 190 

Kinsley, Mrs. Edna, 293 

Kinsley, D. W., 190 

Kirk, Robert, 277 

Kirkpatrick, Herbert E., 416 

Kirkpatrick, Mrs. W. he 146 

Kitishima, Rev. Watan, 106 

Kittredge, Joseph, 354, 415 

Kloth, Rev. C. C., 352 

Kloth, Kriver, 352 

Knapp, Rev. A. M., 115 

Knapp, Frank, 335, 415 

Knapp, Henry, 349 

Knapp, Merton, 349 

Knapp, Raymond, 349 

Knight, Alberta, 302 

Knight, A. C., 194 

Knight, Alena, 302 

Knight, Mrs. Alonzo, 185 

Knight, Amos, 333 


502 BIOGRAPHICAL INDEX 


Knight, C. Eugene. 249 
Knight, Mrs. Clyde, 288 
Knight, Columbus, 185 
Knight, Mrs. Columbus, 185 
Knight, Dorothy, 321, 415 
Knight, Elizabeth, 302 
Knight, Mrs. Enoch, 185 
Knight, Etta, 160 
Knight, Florence, 144, 146, 148, 
149, 161, 185, 415 
ee Franklin, 49, 50, 51, 
52, 
Knight vee George, 262 
Knight, Harriet E., 146, 263 
Knight, Helen, 305 
Knight, Mrs. Herbert, 146 
Knight, J. Melvin. 352 
Knight, Leland W., 261, 415 
Knight, Linwood, 335 
Knight, Maude C., 249 
Knight, Mel., 353 
Knight, Phyllis, 272, 415 
Knight, Ralph E., 254, 256, 
272, 335, 353; AIS 
Knight, Ruth Merrill, 263, 264 
Knight, Willett F., 353 
Knowles, Edna, 288, A415 
Knowles, Ethel May, 415 
Knowles, Eva Elizabeth, 317 
Knowles, Mrs. Eva M., 416 
Knowlton, Esther, 305 
Knowlton, Frank, 191 
Knowlton, George H., 352, 354 
Knowlton, John D., 352, 354 
Knowlton, Marion, 302 
Knowlton, Samuel, 184 
Knowlton, William E., 352, 


353 

Knox, Mrs. Clara Hall, 196 

Knox, Mrs. J. H., 304 

Knox, Mrs. Myrtle, 290 

Korb, May, 227, 416 

Korda, Anna Miller, 146, 150, 
253, 274, 416 

Korda, Joseph, 253, 416 

Kossuth, Louis, 110 

Koster, Ruth, 302, 416 

Kotzschmar, Hermann, 77, 78, 
80) 87,200; GIO, E17, ok 0: 
120, 122, 1234125, 137, 143, 
147, 153, 155, 156, 157, 158, 
159, 162, 165, 166, 167, 168, 
169, 170, 171, 187, 190, 225, 
239, 253, a 263, 265, 267, 
272, 273, 291, 306, 310 

Koch Rue Ann, 
142, 267, 416 

Krebs, Carl, 123 

Kriger, Elizabeth, 146, 416 

Kriger, Gertrude Seiger, 416 

Kroon, Mrs. A. J., 294 

Kuhn, Herman Hs 351 


119, 


Kuschke, 


147, 227 
Kyes, Aroline Treat, 416 


Mrs. William T., 


L 


LaBar, Mrs: 837276 
Labe, M. B., 346 
LaBlanc, Blanche, 306 
Lacasse, Alfred J., 277 
Lackee, Ione, 146 
Ladds As-W.. 425 
Ladd, Bernard Everett, 416 
Ladd, Pliney, 348 
Ladd, 5.-G 27 
Ladd, Wallace, 348 
Ladd, William D., 347 
Lafay, Claude, 353 
Lafond, Dr. L. Raoul, 
296, 416 
LaFond, Paul, 316 
Lahar, Edward, 261, 416 
Laird, Alice C., 416 
Laird, George E., 263 
Laird, Mrs. George E., 


263 
Laite, H. Whitefield, 416 
Lally, Annie, 142 
Lamarre, Marguerite Z., 286 
Lamb, Albert E., 416 
Lamb, Avis, 147, 149, 
258, 273, 274, 308, 417 


295, 


145, 


150, 


Lamb, Rev. F. M., 188, 202, 
417 
Lamb, Grace, 194 


Lamb, Mabel Frances, 302, 417 
Lamb, Mary, 52 
Lamb, Myron U., 417 
Lambert, Arthur, 342 
Lambert, Edward, 277, 417 
Lambert, Martin, 277 
Lambert, William C., 154 
Lambord, Benjamin, 312 
Laming, Henry G., 417 
Lamont, Fred C., 417 
Lamson, Carl, 194 
Lamson, Mrs. Carl, 146, 194 
Lamson, Mrs. Helen, 146, 148, 
199 
Lamson, Hester, 275 
Lancaster, Ethel, 304 
Lancaster, Ezekiel, 97 
Lancaster, H. N., 61 
Lancaster, Lyman, 97 
Lancaster, William, 186 
Lancey, Barbara, 226 
Landry, Achille C., 417 
Landry, Mrs. Antonio, 276 
Landry, Arthur B., 417 
Landry, Mrs. Edwin, 225 
Landry, Mrs. Frank, 295 


Landry, Mrs. G. E., 223, 225, 4 


417 
Lane, Albert A., 417 
Lane, Alice Frye, 417 
Lane, Emma, 417 
Lane, Frank B., 225 


. Lane, Mrs. John C., 146 
‘Lane, Josephine, 280 


Lane, Leo, 353, 354 : 
Lane, Lucy Mitchell, 191, 222, 
293, 295, 297, 417 
Lane, Mabel, 280 , 
Lane, Maurice Elton, 335, 417. | 
Lane, Mrs. Merton A., 418 4 
Lane, Oscar C., 418 
Lane, Mrs: QO. Pi 160 
Lane, Robert, 272, 418 
Lane, Walter, 224 
Lane, William F., 28 
Lang, Mildred, 146 a 
Langdon, Mrs. Hazel, 289, 294 
Lange, Lillian, 146 
Langelier, Elie, 296 q 
Langelier, Mrs. Eugene, 294, — 


295 
Langlais, Charles J., 418 
Langlois, Charles C., 418 
Langlois, Corrine, 305 
Langlois, Edith, 305 
Langman, Sylvia, 418 
Lanterman, Mrs. Ethel Lee- 

mon, 275, 418 
Lapointe, Lelia, 418 
Lepont, C. L443 
LaRochelle, Loretta, 150 
Larochelle, Peter, 342 
Larocque, Stanley, 296 
LaRose, Austin, 260 
Larrabee, Mrs. George H., 281 
Larrabee, Mrs. George P., 2 
Larrabee, Millicent, 298 
Larrabee, Myrta Skillings, 418 
Larrabee, Mrs. Raymond, 224 — 
Larsen, Charles C., 283, 340 
Larsen, Karl D., 283, 340 
Latham, Georgia May, 164 q 
Latham, Thelma, 149, 256, — 

272, 418 
Latneau, Doris, 290 
Laugerin, Peter, 342 
Laughlin, Arthur W., 119 
Laughton, Edith, 418 
Laughton, F. M., 176, 178 
Lauzier, Mrs. Aline, 418 
Lavallie, F. X., 418 
Lavelle, Roland, 305 
Laverty, Mildred I., 418 
LaVigne, Fred J., 255, 


418 
Lavyn, Mrs. Lucille Potter, 141 | 
Law, George A., 335 
Lawrence, Charles, 343 


350, 


Botts PT ECA L LN DEX 


503 


Lawrence, Harold, 256, 
272, 335, 418 

Lawrence, Madeline, 302 

Lawrence, Mrs. Pauline Ro- 
berts, 294 

Lawrence, Ruth, 302 

Lawrence, Mrs. W. iSigceee ae 

Leach, Convers E., 256, 268 

Leach, Frank, 182. 

Leach, Mrs. Gilbert, 418 

Leach, Hattie, 303 

Leach, Sadie E., 418 

Leavitt, Ada I., 418 

Leavitt, Alice, 164 

Leavitt, Annie, 164 

Leavitt, Annie J., 154 

Leavitt, Carrie W.. 178 

Leavitt, F. W., 159 

Leavitt, George, I51 

Leavitt, J. A., 332 

Leavitt, Mrs. Lena, 287 

Leavitt, Samuel R., 78, 79 

Lebeau, Alpaida, 418 

Lebeau, Joseph, 352 

Lebell, Mons, 25 

Leblond, Armaline, 418 

LeBranch, Angelina, 293 

Leckenby, Joseph, 303 

Leclair, Cecilia, 286 

Lee, Ethel, 226, 298, 418 

Leech, Clara Avis, 418 

Leech, Fred Howard, 419 

Leeman, Clifford, 272 

Leeman, Ethel, 261, 275 

Leeman, Irene, 275 

Leen, Hazel Perry, 419 

Lefeye, Claude, 352 

Legault, Joseph, 334, 336 

Legendre, Cecile, 305 

Lehmann, Lilli, 236, 239, 240 

Leighton, Adam P.. 268 

Leighton, Mrs. Adam P., Jr., 
145, 268 

Leighton, Clifford E., 419 

Leighton, Edith, AIO 

Leighton, Everett, 335 

Leighton, J. E., 155 

Leighton, Rev. James M., 
224 

Leighton, John, 334 

Leighton, Nellie, 226 

Leighton, Preston M., 343 

Leighton, Ralph, 255, 
258, 419 

Leighton, Royden R., 352 

Leighton, R. W., 225, 309 

Leith, Alice L., 321, 349 

Lekouses, Angelo, 272 

Lemare, Edwin H.. 256, 268 

Lemieux, Alex, 296, 297 

Lenfest, Effie, 419 

Lenfest, Mrs. I. R., 299 


254, 


193, 


257; 


Leslie, John 


Leonard, Mrs. A. N., 292 

Leonard, Helen S., 285, 419 

Leonard, Hugo, 183 

Leonard, Leroy, 255, 257, 261, 
419 

Leonard, Mrs. Nettie, 292, 293 

Leonard, Paul, 283, 340, 419 

Leonard, Stanley T., 283 

Lepine, Raoul, 419 

LeProhon, Florence Best, 419 

Le Sieur, Simonne, 147, 419 

A., 353 

Lesser, Bertram, 352 

Lesser, Eugene, 334 

Letarte, Albert C., 286 

Letteney, Cora, 273 

LeVasseur, Mrs. John, 285 

LeVasseur, Pauline, 288, 419 

Leveroue, Elvira, 172 

Levesque, Raymond, 291 

Levi, Thomas Anthony, 419 

Levinsky, Maurice, 272 


Lewis, Charles.R., 222, 225; 
419 
Lewis, Hila C..120, 142, 148, 


200, 311, 419 
Lewis, Gladys, 306 
Lewis, Harriet, 119 
Lewis, Helen, 146, 419 
Lewis, Henrietta H., 142, 148 
Lewis, Jacob, 200 
Lewis, Marion, nee 306 


Lewis,.P.; 35, 4 
Lewis, Mrs. Philip Peake 
Lewis, Richard E., 263, 419 


Lewis, William, 263, 420 

Lewis, Mrs. William, 263 

Libbey, Mrs. C. T., 420 

Libbey, Harry W., 224, 227, 
27 G\ 270" 2805 2n5, 420 

Libbey, Herbert W., 227 

Libbey, S. C., 191 

Libby, Alice, 146 

Libby, Alice J., 249 

Libby, Anne By 2 187 

Libby, Beatrice Elizabeth, 296, 
420 

Libby, Bernadine, 305 

Libby, Charles, 102, 163, 263 

Libby, Dorville, Jr., 155 

Libby, Ellen, 187 

Libby, Fannie, 164 

Libby, Fannybelle, 292 

Libby, Florence H., 146, 273, 
274, 420 

Libby, Mrs. Florence P., 304 

Libby, Mrs. Frances A., 420 

Libby, Francis O., 140 

Libby, Mrs. George A., 263 

Libby, Harold B., 297 

Libby, Harold E., Jr., 286 

Libby, Mrs. Harold G., 145 


Libby, Harrold E., Jr., 286 

Libby, Isabel, 222, 224, 420 

Libby, Julia, 141, 142 

Libby, Mrs. Kate B., 288 

Libby, Leonard, 334 

Libby, Lucien P., 420 

Libby, Lucille, 298, 420 

Libby, Mary, 263 

Libby, Mary L., 146 

Libby, M. W., 334 

Libby, Pearl G., 146 

Libby, Mrs. Richard, 146 

Libby, Ruth S., 321, 420 

Libby, Semon H., 119 

Libby, Sylvanus, 334 

Libby, Warren F., 342 

Libby, Mrs. William T., 289 

Liberty, Carl, 256 

Lidback, Paul J., 155 

Lidstone, Mrs. Rena, 293 

Lincoln, Alice, 286 

Lincoln, Fred D., 178, 179 

Lincoln, Dr. Isaac, 328 

Lincoln, May, 177 

Lindsey, Evelyn Cole, 420 

Lindsey, Mrs. Lulu, 290 

Lindsey, Rebecca, 65 

Linnekin, Guy E., 316 

Linnell, William S., 267, 268, 
420 

Linscott, Blanche, 293 

Linscott, Walter Leslie, 420 

Linton, Helen, 298 

Lippincott, Emily D., 286 

Lipsky, Arthur Arnold, 420 

Litchfield, Alice Percy, 420 

Litchfield, Mrs. C. A., 222, 293, 
294, 295, 297 

Litchfield, Elizabeth M., 
294, 295, 308, 420 

Litchfield, H. A., 182 

Litchfield, Prof. Henry, 305 

Litchfield, J. B., 181 

Litchfield, Mrs. J. H., 294, 295 

Litchfield, Mildred, 295, 296 

Litchfield, Millie Parker, 293, 
297, 420 

Litchfield, Mrs. Minnie Goss, 
I9I, 293, 297 

Litchfield, Mrs. Norman, 294 

Little, Anita G., 69, 421 

Little, C. Bryce, 225, 421 

Little, Frank H., 155, 156, 159, 
253, 255, 256, 272, 421 

Little, Rev. George B., 115, 
116 

Little, Harold, 335 

Littlefield, Archie, 351 

Littlefield, A. R., 186, 187 

Littlefield, Caroline, 302 


293, 


504 BIOGRAPHICAL INDEX 


Littlefield, Mrs. Ellen B., 146, 
148, 421 

Littlefield, Mrs. George Ed- 
ward, 289, 421 

Littlefield, Grace, 189 

Littlefield, Mrs. Hattie, 191 

Littlefield, Mrs. J. W., 191, 
192 

Littlefield, Laura Comstock, 


420 
Littlefield, Lida S., 248 
Littlefield, Mrs. Mildred, 306 
Littlefield, Ralph D., 250 
Littlefield, Robert, 289 
Littlefield, Mrs. Rosa W., 301 
Littlefield, Seth, 421 
Littlehale, Mrs. L. N., 222 
Littlehale, Mrs. Mary B., 300 
Livermore, Col., 88, 89 
Livingston, Stephen T., 249 
Lizotte, Henry, 340 
Loane, Mrs. A. B., Jr., 288 
Loane, Mrs. E. W., 299, 308 
Locke, A. J., 332 
Locke, Charles ih 18 
Locke, 
Locke, 
Locke, Samuel, 27, 89 
Lockwood, A. D- 153, 190 
Loesser, Arthur, 248 
Lombard, Everett, 256, 272 
Lombard, H., 261 
Long, Ella Boyce Fifield, 421 
Long, Mrs. J. H., 90, 172 
Long, Ruth C., 14 
Longfellow, Arthur, 311 
Longfellow, Bertha, 421 
Longfellow, Blanche Cram, 254, 


311 
Longfellow, Mrs. Charles E., 


145 
Longfellow, Ella T., 225 
ences Henry W., 34, 122, 


Henctelod P) 224 

Longfellow, Rev. Samuel, 34, 
328 

Loomis, Daisy, 421 

Lord, Charles H., 281 

Lord, Cora, 421 

Lord, Frederick A., 421 

Lord, Gertrude, 226 

Lord, Helen Cooper, 302, 421 

Lord, H. M., 182 

Lord, John D., 88 

Lord, Lena, 224, 226 

Lord, Mary M., 421 

Lord. Mrs. Robert H. W., 146, 
148 

Lord, Russell, 194 

Lord, Capt. William, Jr., 323 

Loring, David E., 343, 353 


Loring, Harold A., 263, 422 

Loring, Mrs. Junius, 288 

Loring, William L., 343, 352 

Lothrop, James K... 273, 422 

Lothrop, Mrs. James K., 146, 
260, 263, 422 

Lothrop, W. L., 188, 190, 297 

Loud, John F., 286 

Lougee, Lenona, 290, 422 

Lougee, Marguerite Emma, 422 

Lougee, Nellie Delphine, 422 

Lougee, Zenas, 350 

Love, Evelyn, 422 

Lovejoy, Alden Wing, 200, 201 

Lovejoy, Delmar B., 339 

Lovejoy, Lucy, 65 

Lovejoy, Nathan, 200 

Lovejoy, Temperance Wing, 
200 

Loveley, Ethel, 422 

Lovell, Mrs. Florence A., 286 

Lovell, Franklin W., 422 

Lovell, Horace D., 286, 422 

Lovell, Mrs. Horace D., 286 

Low, A) £102 

Low, Martha, 295, 422 

Low, Mildred Caroline, 422 

Low, Sarah, 52 

Lowe, Mrs. A. W., 278 

Lowe, Ruby G., 306 

Lowell, Abner, 78, 79 

Lowell, Mrs. Charlotte P., 146, 
260, 422 

Lowell, Edith, 149, 275, 289 

Lowell, E. L., 225 

Lowell, Eliza S., 146, 293, 294 

Lowell, F. H., 225 

Lowell, Harry P., 256, 272; 
276, 422 

Lowell, Henry H., 119 

Lowell, Mrs. Herbert, 249 

Lowell, Irving H., 119 

Lowery, Mrs. Mathilda, 290 

Lucca, Pauline, 183 

Luce, Bertha M., 302, 422 

Luce, Carrie F., 285, 423 

Luce, Earl C., 285 

Luce, John T., 186 

Luce, Maurice A., 286 

Luce, Nelson C., 97 : 

Lucille, Sister Mary, 321, 423 

Ludden, Mrs. Elizabeth, 293 

Ludden, Mrs. F. E., 294 

Ludden, Muriel B., 423 

Ludden, Rena H., 423 

Ludden, Virgia W., 187 

Ludden, Mrs. William, 294 

Ludwig, Guard. 351 

Ludwig, Mrs. Theresa, 290 

Lufkin, Mrs. Eliza J., 187 

Lufkin, Fred, 188 

Lufkin, Martha F., 190, 292 


Lunt, Elsie, 423 

Lunt, Grace, 293, 294 
Lunt, Peter, 52, 54 

Lurvey, Samuel S., 343, 423 
Lydston, Mrs. Ray, 294 
Lyford, Bylie, 354 

Lyford, Laura Alvena, 423 
Lyford, Walter, Jr., 354 
Lynch, Mrs. J. T., 423 
Lynch, Katheryn, 294 4 
Lynch, Mrs. Lillie Shaw, 196 
Lynde, John H., 179 
Lynes, Frank, 134 
Lynn, Ruth, 274, 423 
Lyon, C. Leroy, 285, 423 
Lyon, Ida Holtz, 423 
Lyon, James, 15 to 19 
Lyon, Fi 416 

Lyons, Edwin J., 277 


Lyseth, Harrison C., 276, 423 4 


M 


MacBurnie, H. W., ae 
MacCormick, Mrs. pees He 
28 
MacDonald, Mrs. D. J., 275 
MacDonald, George, 242 
MacDonald, J. Daniel, 423 
MacDonald, Dr. J. H., 351 
MacDonald, Mrs. Margaret F., 
264, 423 
MacDonald, Mrs. W. L., 276 
MacDowell, Edward, 312 ~ 
Macfarlane, Will C., 256, 257, 2m 
267, 268 4 
MacGibbon, Roger W., 
423 
Macllwain, G. E., 224, 225 
Mack, Mrs. Susie, 306 
MacKay, Mrs. Annie Jones, 


MacKay, C. H., 249 
MacKay, D. H. S., 249 
MacKay, Mrs. John, 142 7 
MacLaughlin, Marlin V., 424 — 
MacLean, Bessie Smith, 424 
MacMullin, Margaret Mitchell, 
298, 424 
MacNichol, 
226, 227 
Macomber, Mrs. Harry, 424 
Macomber, Lizzie M., 18 
MacPherson, Francis, 352 
MacPherson, Mrs. Grace, 305 
Macy, Edward Hallett, 424 F 
Macy, James F., 118, 119, 224, 
Spe oes 258, 424 
Magill, Mrs. Philip, 299, 424 
Magoon, T. F.. 90 


296, 


J. Francis, 225, 


Magoun, H. Emma, 222; 224, 


285 


BOG RAP LCA L SLND E X 


Mahan, Mrs. Addie, 225 
Maher, Elizabeth, 226, 424 
Maher, M. D., 159 

Maher, Olive, 223 

Mainente, Anton Eugene, 350, 


424. 
Malaska, Michael, 349 
Maling, Mrs. Nettie Gratian, 
180 
Mallett, Mrs. Blanche B., 424 
Mallett, Richard, 349 
Malley, Mrs. Effie P., 146, 227 
Mallon, Edwin, 349 
Malmene, Waldemar, 153, 191 
Malmene, Mrs. Waldemar, 191 
Maloney, Fanning G., 254, 
$13, 434 5, 
Maloon, Carrie, 196 
Maloon, Henry, 349 
Maloon, Mrs. Lila, 293 
Maloon, Minerva, 196 
Mangum, Elmer, 255, 258, 273, 


424 
Manley, Blanche, 248 
Mann, Mrs. William E., 223, 
225, 425 
Mannette, Agnes, 149 
Manning, Charles, 254 
Manning, May, 275 
Manning, Samuel, 27 
Mansfield, Emily P., 146 
Mansfield, Frances Vivian, 290, 


425 
Manson, Hon. A. D., 179 
Manson, Mrs. E., 191, 192 
Marble, Coker, 111 
Marble, Harriet Ladd, 

321, 425 
March, Mrs. Ada, 306 
March, Edith M., 425 
March, Grace E., 146 
March, Mrs. Mary, 306 
Marchesi, Mathilda, 245 
Marcotte, Regina, 295 
Marcoux, Joseph Henri, 227, 


309, 


425 

Marcoux, Lionel, 297 

Marden, Mrs. Dorothy H., 
320 

Marden, Mrs. Florice E., 224, 
425 


Marden, Mrs. W. C., 226 
Margison, Mrs. George, 299 
Mariner, Frederic, 289 
Marquis, Lorette E., 425 
Marriner, Mrs. Louise Lyford, 


193 
Marsden, H. C., 224 
Marsh, Albert R., 425 
Marsh, Clara B., 194 
Marsh, Samuel. 349 
Marshall, Charles, 227. 247, 425 


Marshall, Clarence, 178 
Marspall Co). 279 
Marshall, Don, 286 
Marshall, Evelyn, 426 
Marshall, Herbert, 335 
Marshall, Karl, 156 
Marshall, Leonard, 116, 

259, 263, 273, 426 
Marshall, Mabel E., 321, 426 
Marshall, Dr. N. M., 119 
Marshall, Ruth, 259 
Marston, Mrs. Adelaide Mc- 
Farland, 297 
Marston, Agnes, 426 
Marston, Charles E., 426 
Marston, C. H., 90 
Marston, Eleanor, 187 
Marston, Elizabeth, 293 
Marston, Frostina E., 222, 285, 
426 
Marston, George W., 147, 150, 
152. 107, O97 170. 171.4202, 
SOT HEA tA 1 Sele 
Marston, James D., 353 
Marston, Joseph, 89 
Marston, Kathleen B., 302, 426 
Marston, Lucinda, 299 
Marston, Mrs. Mahlon H., 
263 
Marston, Mrs. Norris, 184 
Marston, Richard L., 286 
Marston, William, 170 
Martin, Edmond, 296 
Martin, Frederic, 248 
Martin, Harry E., 426 
Martin, Henry, 342 
Martin, Isaac, 296 
Martin, Joseph, 342, 426 
Martin, Mrs. Mabel, 296 
Martin, Warren R., 277 
Mason, Catherine, 104 
Mason, Daniel G., 134 
Mason, Dr. E. W., 104 
Mason, Frances, 178, 277 
Mason, Dr. H. B., 225 
Mason, Capt. Hugh, 103 
Mason, Rev. J. K., 180 
Mason, John R., 114 
Mason, Dr. Lowell, 93, 96 
Mason, Luther Whiting, 103 


to 107 
Mason, M. Phillips, 286 
Mason, Silas, 103 
Mason, Stuart, 157 
Massbyl, Peter. 335 
Masse, Roland F.. 286 
Massey, George S., 336 
Mather, Cotton. 11 
Mathes, Nettie M., 426 
Mathews, Blanche Dingley, 426 
Mathis, Mariorie, 146 
Matte, Dr. BL. FE: N.. 291 


181, 


505 


Matthews, Mrs. Caroline, 288 
Matthews, Mrs. Elwyn, 426 
Matthews, W. S. B., 136 
Matthieu, Carroll A., 349 
Maxfield, Carl W., 283 
Maxfield, Dr. Fred E., 282, 


283 
Maxfield, Mrs. LeVerne Kimp- 
ton, 198 
Maxim, Abraham, 29, 30 
Maxim, Anna M., 30 
Maxim, Capt. Benjamin, 110 
Maxim, George Pratt, 225, 426 
Maxim, H. F., 249 
Maxim, John, 68 
Maxim, Martha, 426 
Maxim, Mary, 427 
Maxwell, Mrs. A. E., 285 
Maxwell, Mrs. Frank M., 187 
Maxwell, Irving W., 258, 427 
Maxwell, James D., 283 
Maxwell, Leola, 427 
May, Gertrude, 293 
May, Julia H., 186 
Mayberry, Willard, 222, 334, 
336, 352 
Mayhew, Mrs. R. S., 64, 102 
Maynard R.21768 
Maynard, Louise S., 427 
Mayo, Margaret, 302 
ayo, Mary, 285 
McAdams, Martha, 147 
McAlister, Marion K. W., 427 
McAlphine, Mrs. Mabel Chis- 
holm, 196 
McArthur, Miss M. E., 191 
McBride, Mrs. Frances, 280 
McBride, Mrs. Hazel C., 288 
McCalmon, Martha I., 146 
McCann, Nellie Louise, 289, 


427 
McCausland, Doris, 147. 427 
McCausland, H. W., 326 
McClench, Bertha, 225 
McCloskey, Edmund M., 286 
McClung, George, 255, 258. 


427 
McClure, Gertrude B., 283 
McCobb, Harriet S., r41, 142, 
148, 427 
McCobb, Mary S., 142, 148, 


427 
McCord, Percy B., 258, 261, 
263, 427 
McCracken, Henry, 305 
McCready, C. D., 224, 285 
McCready, Marion ‘Taylor, 
200. 427 
McCrillis, John, 351 
McCurdy, Mrs. C..L., 222, 278 
McDonald, Mrs. Annie. 427 
McDonald, Augustus, 260 


506 

McDonald, Bhima, 146 

McDonnell, Charles H., 427 

McDonnell, Mrs. May, 260, 
427 

McDougal, Bess, 288 

McDougal, Mrs. Olive, 260, 


427 
McDuffie, Margaret, 147 
McFarland, Peter, 38 
McFaul, Mrs. James A., 146, 

149, 263, 307, 308 
McGilvery, Helen, 296 
McGinley, Eva, 290, 427 
McGonagle, Mary K., 427 
poneatiel Mrs. Thomas Pe 


MeCrats Mrs. Alfred, 145 
McGrath, John P., 285 
McGrath, R. Ella, 298 
McGray, Cecil, 277 
vee Eleanor B., 146, 275, 


Activa Mrs. R. Crawford, 


294 
Mcllroy, Ronald, 350 
McInnis, Mrs. James L., 224 
McInnis, John, 428 
McIntire, David, 185 
McIntire, Helen, 428 
McIntire, Mrs. Malcolm, 299 
McIntire, Paul, 272, 353, 428 
McIntyre, Mrs. Helen, 260 
McIntyre, Leah, 290 
McKay, Helen E., 290, 428 
McKeen, Alice, 194 
McKeen, James, 62 
McKeen, Lloyd Donald, 428. 
McKellan, Bieter ss 
McKenna, Elizabeth, 293, 294 
McKenney, Ada Cary, 164 
McKenney, A., 333 
McKenney, Clifford, 340 
McKenney, Mrs. Frank, 145 
McKenney, Mrs. Grace, 293, 
297 
McKenney, Mrs. H. H., 249 
McKenney, Ida E., 428 
McKenney, Hon. L. F., 224 
McKenney, Luda Mabel, 428 


McKenney, Mrs. W. i, 249 
McKenzie, Marguerite, 226, 
428 


McKenzie, Mrs. Mildred, 298 
McKinney, Mrs. Matthew, 294 
McLane, William, 259 
McLane, William G., 263 
McLaughlin, Eugene, 351 
McLaughlin, Kitty, 227 
McLaughlin, Robert, 200 
McLaughlin, Teresa, 280 
McLeary, Robert, 186 
McLellan, Alexander, 59 


BIOGRAPHICAL INDEX 


McLellan, Beatrice, 259 

McLellan, Charles H. P., §2, 
54, 154, 195 

McLellan, Edwin W., 351, 353 

McLellan, Emma, 195 

McLellan, Harry, 195, 225, 285, 


428 
McLellan, James 


428 
McLellan, William, 325 
McMaster, Daniel, 225 
McMennamin, Annie, 288 
McMennamin, Carrie L., 429 
McMillan, Mrs. Florence, 222 
McMurray, Mrs. Maud Teel, 

297 
McNamara, Mrs. Ida H., 224 
McNamara, Dr. W. F., 225 
McNaughton, Mrs. Bertha, 286 
McNelly, Mrs. Blanche, 287 
McNulty, James, 179 
McPherson, F. S., 297 
McRonald, A. Howard, 256, 


Alexander, 


203 
Meader, Emily Peace, 203 
Mears, Arthur, 151 
Megone, Mogg, 6 
Megquier, Benjamin C., 78 
Megquire, A. S., 119 
Megrew, Mrs. George, 146 
Melcher, Mrs. H. N., 184 
Melcher, Margaret Jane, 226, 
264, 429 
Melcher, Jennie R.. 285 
Meleod, Albertina M., 429 
Melia, John, 159 
Mellen, Prentiss, 25, 31, 38, 
39, 4 
Marcie Heliodore E., 286 
Menish, Mrs. Esther, "260, 429 
Merchant, William H., 353 
Merriam, Clarice Emma, 429 
Merriam, Ji 184 
Merrick, john, OY heey fete fe 


39, 89 
Merrill, Mrs. A. Elizabeth, 142 
Merrill, Albert G., 103 
Merrill, Mrs. Albion, 147 
Merrill, Alice Knight, 429 
Merrill, Mrs. B. B.. 180. 
Merrill, Barbara Elizabeth, 429 
Merrill, Beth, 226, 277 
Merrill, Clara H., 146 
Merrill, Dorothy, 146 
Merrill, Earl S., 283 
Merrill, Ella, 179, 185 
Merrill, Ellen. 77, 80 
Merrill, Elizabeth, 146 
Merrill, Elizabeth Powers, 314 
Merrill, Emily, 180. 222, 278, 
279. 280 
Merrill, E. D., 224 


Merrill, E. H., 62 

Merrill, Mrs. Eugene, 259 
Merrill, Fred A., 160 
Merrill, Fred, 349 a 
Merrill, Frederick, 52, 55 a 
Merrill, Mrs. Freeman, 429 
Merrill, George E., 297 oe 
Merrill, Mrs. George E., 226, — 


297 4 
Merrill, G. Dana, 186 a: 
Merrill, George W., 96, 98, — 
113, 114, 116, 176, 177, 170m 
Merrill, Gladys H., 283, 429 
Merrill, Mrs. G. W., 177 - 
Merrill, Grace W., 146 ar 
Merrill, Mrs. Gertrude S., 429 | 
Merrill, Harry F., 119, 120, ~ 
159, 227, 256, 260, 261, a a 
306, 354, 429 ‘ 
Merrill, Mrs. Henrietta, 185 
Merrill, Henry F., 256, 258, a 
266, 268, 292, 335, 429 
Merrill, Inez, 280 : 
Merrill, I. Warren, 186 - 
Merrill, J. F., 188 a 
Merrill, J. N., 224 a 
Merrill, John, 88 a 
Merrill, John P., 343 4 
Merrill, John T., 185, 351 ae 
Merrill, Mrs. John T., 185 y 
Merrill, Mrs. Lena S., 224 
Merrill, Leonard F., 343 
Merrill, Lillian, 297 
Mery Marcia, 144, 227, 259, 4 
203, 4 a 
Merrill, Mie E., 164, 284 saa 
Merrill, Nettie, 292 = 
Merrill, Mrs. Sadie L., 429 
Merrill, Thomas L., 191 om 
Merrill, Mrs. T. L., 191, 192 
Merrill, Wallace L., 429 
Merrill, William, 185 
Merrill, William H., 160 
Merrill, Mrs. W. H., 160 
Merrill, William P.. 332 
Merriman, Clarice, 146 
Merrithew, Louie, 354 2 
Merrow, Mrs. R. H., 226 a 
Merrow, Thomas, 316 a 
Mershon, Harry G., 259, 429 
Meserve, Roswell A., 351 a 
Meservey, Fred, 346 
Meservey. G. F., 181 a 
Messer, Benjamin E., 98, 100 a 
Messer, Edmund C., 100 a 
i Dr. Charles A., 284, a 


Saat 


Metcalf George, 198 | 
Metcalf. Ida, 292, 293, 297 4 
Metcalfe, Miss A. F., 184 a 
Metcalfe, Mrs. H. W., 184 3 
Meyer, Mrs. Marion D., 430 


BIOGRAPHICAL INDEX 


507 


Michaud, Charlotte, 295 
Michaud, Ozella, 430 
Millay, Edna St. Vincent, 430 


Millay, Velma on 263. 430 

Miller, Anna, 

Miller, Mrs. Berths Kenney, 
I9I, 298 

Miller, Carrie, 222, 292, 293, 
294, 298, 430 

Miller, Charles, 181 


Miller, Mrs. David Gray, 146, 


275 
Miller, Mrs. Davis, 183 
Miller, Eva J., 321, 430 
Miller, F. F., 87 
Miller, Henry, 343 
Miller, Mrs. Martha M., 430 
Miller, Reed, 248 
Miller, Thor, 430 
Miller, Mrs. W. L., 278 
Millett, Alonzo, 157 
Millett, Mrs. Isabella L., 141 
142, 164 
Millett, Mrs. Muriel, 260, 430 
Milliken, Carl, 349 
Milliken, Charles, 89 
Milliken, Charles A., 224 
Milliken, Mrs. Fanny Baker, 


275 
Milliken, Harry, 296 
Milliken, James R., 78, 79, 173 
Milliken, L. B., 192 
Milliken, Laura P., 186 
Milliken, Lemuel G., 160 
Milliken, Melville C., 159, 172, 
275 
Milliken, Nettie A., 
159 
Milliken, Philip, 255, 258, 430 
Milliken, Susan Cressey, 172 
Milliken, S. K., 191 
Mills, Mrs. Ambrose, 222 
Mills, Charles S., 316, 327 
Mills, Horace E., 255, 334 
Mills, Lois, 146, 253, 430 
Mills, Scott, 354 
Mills, Walter H., 285 
Mills, William H., 93, 115 
Minchin, Mrs. Arthur, 276 
Miner, Antonia Sawyer, 
430 
Miner, Doris P., 349 
Miner, William Francis, 


146, 156, 


309, 


349, 


430 
Minnick, John, 352, 353 
Minor, Dorothy, 288 
Mitchell, A. C., 187 
Mitchell, Dr. Ammi R., 34 
Mitchell, Charles Banks, 431 
Mitchell, Elliott, 162, 263 
Mitchell, Mrs. Emma T., 

226, 306 


225, 


Mitchell, Mrs. Esther, 305 
Mitchell, Mrs. Ethel L., 


431 
Mitchell, Etta Andrews, 431 
Mitchell, Flora, 186 

Mitchell, Florence, 226 
Mitchell, George, 347 
Mitchell, Margaret P., 322, 431 
Mitchell, May, 189 

Mitchell, N. O., yo 

Mitchell, Oscar A., 351, 352 
Mitchell, Mrs. Perley, 299 
Mitchell, Sabattis, 354 
Mitchell, William W., 45 
Mixer, Charles A., 225 

Mixer, Edward, 260 

Mogan, Matthias F., 261, 431 
Monaghan, Herbert F., 340 
Monaghan, Mabelle, 227, 309 
Monahan, Mrs. Grace, 298 
Monahan, Virginia, 290 
Monroe, Charles, 52, 55 
Monroe, Dr. Hollis, 60 
Monson, Eoline, 146 
Monteith, J. A., 261, 431 
Montgomery, George, 155 
Montgomery, J. H., 155. 431 
Montpelier, Yvonne, 146, 274, 


260, 


431 
Monty, Mrs. Lulu, 298 
Moody, Agnes, 179 
Moody, Edna Luetta, 431 
Moody, Elizabeth, 60 


Moody, Florence, 276, 286, 431 

Moody, George T., 114, 177, 
179, 180, 280 

Moody, Harriet, 294, 298 

Moody, Helen, 146 

Moody, Jessie C., 431 

Moody, John W., 151 

Moody, Mary A., 146, 164 


Moody, William, 60 

Moore, Charles, 272 

Moore, Mrs. Dorothy, 305, 431 
Moore, Mrs. E. G., 431 
Moore, F., 159 

Moore, Frank I., 254, 334, 352 
Moore, George E., 277 

Moore, Grace Thompson, 431 
Moore, Henry L., 349 
Moore, Joe, 277 

Moore, Mrs. Julia Cowan, 263 
Moore, Mrs. Luther B., 145 
Moore, Mabel Cutler, 431 
Moore, Mollie F., 146, 226 
Moore, Pearl, 348 

Moore, Mrs. Raymond, 150 
Moore, Roscoe. 348 

Moore, Mrs. Walter B., 146 
Moran, Loretta, 146 

More, Margaret, 22 

Moreau, Bernadette, 263, 431 


Morey, Mrs. 
294, 431 

Morey, H. S., 338 

Morey, Mrs. Maud, 292, 293, 

298 

Morgan, A. A., 327 

Morgan, A. P., se 

Morgan, E. E., 345 

Morgan, Ella W.. 146 

Morgan, Mrs. Gladys St. Clair, 

431 

Morgan, Irving J., 256 

Morgan, John, 89, 151, 154, 

Pees, £60, TOs 208,: 318 

Morgan, Rowland, 303 

Morin, Dana, 305 

Morin, Gerome, 193 

Morin, Josafa, 296, 432 

Morin, Joseph, 342 

Morin, Rhea Couillard, 432 

Morong, Mrs. Walter W., 146, 

274, 275, 432 

Morrell, Mrs. Prudence, 286 

Morrill, Mrs. Arthur B., 146 

Morrill, E. T., 61 

Morrill, Mrs. Eva M., 306 

Morrill, Harriet J., 142 

Morrill, Josiah, 343 

Morrill, Mae Chenery, 275 

Morrill, Sam E., 100 

Morrill. Wallace ie OG44 

Morrill, Walter E., 343 

Morrill, William, 184 

Morris, A., 338 

Morris, Charies, 442 AG. 52 

Morris, Frank, 432 

Morris, John, 255 

Morris, Kate, 192 

Morrison, Alice B., 146, 

203, 263, 306, 309 

Morrison, Ann M., 310 

Morrison, Donald, ae 2314 

Morrison, Helen er 275 

Morrison, Mrs. Jennie King, 
120, 156, 159, 160, 161, 164, 
239, 432 

Morrison, John L., 310 

Morrison, Marjory, 226, 311, 
432 

Morrison, Nettie A., 156 

Morrison, Raymond He 283 

Morrison. Mre Stella S.. 187 

Morse, Arthur D., 158, 159, 263 

Morse, Arthur W., 254 

Morse, Mrs. Celia, 260, 432 


Frank A., 222, 


156, 


Morse, Charles H., 134, 139 
Morse, Dexter, 181 

Morse, Emma, 187 

Morse, E. E., 224 

Morse, Jennie R., 146, 195, 


285, 29 
Morse, Lloyd E., 256, 272, 432 


508 


Morse, Mary Ella, 300 
Morse, May, 432 

Morse, Penelope, 181 

Morse, Ralph I., 193, 194, 224, 


305 
Morse, William, 332 
Morse, Dr. Wilson F., 317 
Mortland, David N., 182, 183 
Mortland, Mrs. D. N., 182 
Mortland, Mrs. Lillian B., 301 
Morton, Allan, 343 
Morton, Mrs. Agnes, 303, 432 
Morton, Asa C., 179, 180, 279, 
280 
Morton, Mrs. Frank, 275 
Morton, Mrs. Gladys, 287 
Morton, Sara J., 225 
Moseley, Rev. Elisha, 62 
Moseley, Ellen M., 293, 297 
Moseley, F. L., 158 
Moses, Charles, 335 
Moses, T. B., 78 
Mosher, Mrs. Clara, 303, 304 
Mosher, George, 349 
Mosher, Mrs. James I., 280 
Mosher, P., 159 
Mosman, Phyllis, 147 
Moulaison, John, 303 
Moulton, Alma C., 249 
Moulton, Eunice, 293, 294 
Moulton, Mrs. ‘ee E204 
Se Mrs. Marion A., 260, 


Aoantiare Wi 343 
Mowatt, Captain, 44 
Mower, F. O., 188 
Mower, Mildred Louise, 432 
Mower: Nil... 224, 225, 285, 
298, 317 
Moxcey, H. L., 158, 159 
Moxcey, Mrs. R. M., 306 
Mudge, E. Reddington, 53 
Mueller, Ruth, 432 
Mugridge, S. T., 102, 182 
Mullaly, J. M., 333, 338, 339 
Mullen, Mrs. Tena, 305 
Mulnix, Hattie, 275 
Mulvaney, Mrs. James. 284, 
432 
Munger, Clara E., 
Munger, Emma F., 
Munro, Ernest rywind 432 
Munro, John, 272 
Munson, W. M., 224 
Murphy, Jessie eB 249, 306 
Murray, Harvey, 119, 156, 157, 
160, 164, 171, 189, 190, 239, 
263, 291, 310, 433 
Murray, Helena E., 
Murray, H. S., 172 
Murray, Rt. Rev. John Greg- 


ory, 264 


ae 172, 


283 


BIOGRAPHICAL INDEX 


Murray, Joseph T., 304 
Murray, Mary E., 263, 433 
Mussey, B. B., 111 
Muzzey, Arthur E., 433 
Myrick, Mrs. Alice, 293 
Myrick, John D., 275 
Myrick, Mrs. John D., 275 
Myrick, Mrs. Pauline, 276 


N 


Nadeau, John, 351 
Narmaud, Peter, 342 
Nash, Mrs. Ethel, 293 
Nash, Helen E., 146, 189, 433 
Nason, Bertha, 227 
Nason, Frank, 285 
Nason, Hamilton, 433 
Nason, Rev. John, 224 
Naylor, Fred H., 352 
Naylor, Kenneth, 335 
Neal, E. R., 78 
Neal, Mrs. Ida, 303 
Neal, Parmenio W., 
LIT, TIF. T19 
Neilson, Christian, 352 
Neilson, Irving, 352 
Neilson, Paul, 352 
Neily, Mrs. Anne, 


78, 82 


260,908; 
433 
Neily, Rupert, 259, 260, 308, 


433 
Nelke, Bernice, 433 
Nelson, Alice H., 222, 433 
Nelson, Donna, 208, 322,484 
Nelson, Mrs. Doris, 260 
Nelson, Helen, 146, 261 
Nelson, Mary ‘Allen, 22°F AGS 
Nelson, Nels J., 433 
Nelson, Mrs. W. A., 178, 278, 


279 
Nelson, Mrs. W. L., 280 
Nesbitt, M., 338 
Ness, Mrs. Beatrice, 293 
Ness, Mrs. John, 294 
Nettleton, James, 256, 272 
Neven, Albert, 342 
Neven, Ethelbert, 202 
Neven, Henry, 342 
Nevens, Ezra, 294 
Nevens, Mrs. Florence Cole 

bell, 191, 293, 298 
Newcomb, Ruth, 284, 433 
Newell, Ada W., 187 
Newell, George W., 353 
Newell, F., 187, 190 
Newell, John, 354 
Newell, Steve, 354 
Newell, Mrs. Winona, 290 
Newell, W. G., 334 
Newman, Mrs. Carl, 226 


ei: James B., 254, 2735 


“Norton, Edwin, 228, 229, 230° 


Baie Mrs. Carrie, 280, 284, 


Nosmet Edith hice 15 
Neweae Mrs. Neil Ee 


433 

Noses Charles, 347 
Newton, Elsie, 306, 433 
Newton, Mary, 226 
Newton, R: F206 | 
Nicholas, Calvin Austin, 354 a 
Nichols, "Mrs. Bertha L., 308 
Nichols, H.-Co ize ] 
Nichols, Mrs. H. Cyn tags 164 
Nichols, John, 354 - 
Nichols, Mrs. Nellie, 290 
Nicholson, Elizabeth, 434 
Nicholson, Rev. George Be 2499 
Nickels, Clara B., 183 
Nickels, Emmeline, 183 
Nickerson, Mrs. A. C.,. 306 
Nickerson, Mrs. A. E., 2240 
Nickerson, Mrs. E. A., 187, 

225 a 
Nickerson, F. A., 187 ‘4 
Nickerson, Dr. Harry M., 118, 

119, 161, 22%. 260, 272, 273, 
ie Mrs. Ruth, 260, 


Nickey Viola Isa, 434 
Nicolar, Joseph, 3 — 
Nielsen, Alice, 248 a 
Nightingale, Mrs. Alden, 288 © 
Nilsson, Christine, ge 
Rees Mrs. Sadie H “; un 
434 2 
Niverson, Mrs. Robert, 276 — q 
Nixon, Harry E., 434 a 
Nixon, Mrs. Harry, 259, 136 4 
Noble, Seth, 23, 91 
Noel, ‘Mrs. Hortense, 298 
N oel, Newell, 354 
Nolan, John pe 194 ’ 
Nolcini, Charles, 48, 50, 52, 
67, 261, 324 
Nolin, Cyril, 316 
Norcross, Mrs. Charles, 
142, 164, 165, 262 ; 
Norcross, Ed. K., 347 q 


‘ 


Norcross, Esther "Kathryn, 434. 


120, 4 


Nordica, Lillian, 97, 181, 182, 
200, 220, 227 to 245 4 
Norris, Homer Albert, 202 
Norsworthy, Ay Fi sag oe 3 a 
Norton, Amanda Elizabeth, 230 
Norton, Mrs. Charlotte, 225. 
226 os bs 
Norton, Charles, 334 :.. 
Norton, Deborah Instance, 227 
Norton. Ebenezer, 97, 229 


BOOGRAPTILC ATL INDEX 


Norton, Eliza, 165 

Norton, Ephraim, 228 

Norton, Mrs. Florence, 434 

Norton, James I., 228 

Norton, Julia, 77, 165 

Norton, Lillian, 97, 181, 182, 
Px IS tH: 245 

Norton, Nicholas, 229 

Norton, Major Peter, 228 

Norton, Richard R., 186 

Norton, Mrs. Ruth Knight, 
263, 434 

Norton, Mrs. U. C., 224, 434 

Norton, W. T., 249 

Nowell, Sarah H., 191 

Noyes, Alroy, 185 

Noyes, Edward A., 119, 221, 


223 
Noyes, Elizabeth, 52, 57 
Noyes, Frank, 119 
Noyes, Grace, 226 
Noyes, Ilsley, 161 
Noyes, John E., 119 
Noyes, Mrs. John E., 119 
Noyes, Julia Edwards, 146, 
147, 148, 150, 227, 307, 308, 


434 
Noyes, Mrs. Leola, 303, 434 
Noyes, Verna, 146, 293 
Noyes, Wendell P., 434 
Noyes, Willard A., 298 
Nudd, Carlos, 190 
Nudd, Charles, 187 
Nute, Leander M., 327 
Nutt, Mrs. Carleen B., 302 
Nutter, F. Everett, 303 
Nutter, Walter E., 303 
Nutter, William S., 303 
Nye, Dora Trafton, 434 
Nye, Frank A., 335, 435 
Nye, Roger, 227, 435 
Nye, Vora, 302 


O 


Oakes, E. Belle, 292, 293, 294 
Oakes, Frances A., 435 
Oakes, Henry W., 188, 224 
Oakes, Mrs. Nana U., 197 
Oakman, Carl Shepard, M.D., 


435 
Oakman, Charles, 197, 316 
Oakman, George W., 197, 316 
Oakman, Marion, 177, 316 
Oakman, Ora, 93 
Oakman, Walter Marion, 435 
Oberg, Mrs. Florence, 306 
O’Brion, Annie J., 264, 435 
O’Brion, Teremiah, 18 
O’Brion, Marv E., 146, 435 
O’Connor, Elizabeth A., 435 


O’Connor, Etta J., 435 
O’Connor, Josephine, 263 
Oddy, Frank, 224, 435 

O’Dea, Olive L., 146 

Odell, Mrs. Louise Dade, 287, 


435 

Odlin, Charles, 256, 335, 436 

O’Donnell, J. H., 158 

O’Donnell, Mrs. William, 436 

Ogden, Marguerite, 146, 148, 
149, 253, 263, 264, 314, 436 

Ogden, Mrs. Marion, 306 

Ogier, Mrs. A. E., 278 

O’Hara, Mrs. Kathleen S., 302 

Ohler, Harriette, 258, 263 

Olcott, Mrs. Hermann P., 146, 
436 

Olfene, Mrs. Louisa C., 187 

Oliver, Mrs. Charles L., 222 

Oliver, Fred H., 256 

Oliver, George. 351 

Oliver, Henry Kemble, 143 

Oliver, Horace, 335 

O’Neil, John, 231 

O’Neill, Mrs. James B., 146 

Orchard, Myrtle, 290 

Ordway, A. K., 188, 190 

Ordway, Nelson K., 340 

Orlows, Vladimir, 256 

Ormiston, Mrs. William T., 142 

Orne, Ernest B., 313 

Orr, Beatrice B., 146, 275, 436 

Orr, Robert, 62 

Orrman, Mrs. H. L., 146 

Osborne, Alice Julia, 436 

Osborne, Carrie Wing, 311 

Osborne, Charles S., 224 

Osborne, Mrs. Frank, 288 

Osborne, Harriet S., 61 

Osborne, Mrs. Loomis, 288 

Osborne, Mrs. Margaret, 298 

Osgood, Mrs. Alton R., 436 

Osgood, Amos, 87 

Osgood, George L.., 
475, 151, 182 

Osterberg, Carl, 253 

Ostinelli, Elise, 58 

Ostinelli, Signor, 47, 58 

Ostinelli, Mrs., 47,58, 111, 122, 
261 

Otis, Mrs. Elizabeth Latham, 
146, 263, 436 

Otis, Grace M., 436 

Otis, H. G., 187 

Otis, Mrs. Harold, 259 

Otis, Melissa, 187 

Ouelette, Reginald, 296, 436 

Ouilette, Arthur, 305 

Owen, Emma, 195 

Owen, Jessie, 285 

Owen, Josie, 226 


T2i. 4 12n. 


509 


P 


PackarasC) Io 58a 

Packard, Horace, 198 

Packard, Howard, 350 

Packard, Mrs. Ida, 292 

Packard, Lucretia, 290 

Packard, Mrs. Winifred, 293 

Paddon, John, 89 

Page, Albert, 198 

Page, Mrs. Albert F., 226 

Page, Edith Wentworth, 436 

Page, George T., 188 

Page, John O., 26 

Page, Lloyd, 260, 289 

Page, Madelyn Loy, 436 

Page, Sarah: K:,.26 

Painchaud, Pierre L., 193, 225, 
341 

Paine, Addie, 122 

Paine, Alma Georgiana, 122 

Paine, Anne Rebecca, 122 

Paine, David, 70, 122, 261, 
325 

Paine, Doris, 436 

Paine, Edgar Houghton, 263, 
273, 436 

Paine, Helen, 142 

Paine, Jacob. 5.,. 79,122; 323, 
325, 330 

Paine, Jacques, 84 

Paine, John Knowles, 117, 121 
to 140. ine.; 170, 330 

Paine John sks & Hii a6s 122, 
323, 330 

Paine, Joseph, 122 

Paine, Mrs. Leonard, 147 

Paine, Myrick, 122 

Paine, Rebecca Downes, 122 

Paine, William, 68, 79, 325 

Palmer, E. Beryl, 436 

Palmer, Ella, 183 

Palmer, Florence Knight, 227, 
263, 292, 436 

Palmer, Frederick N., 61 

Palmer, Mrs. Frederick H., 
144, 146, 148, 306 

Palmer, Mrs. Harry C., 289 

Palmer, H. N., 60 

Palmer, John, 261, 436 

Palmer, Mary, 61 

Palmer, Osmond A., 225 

Palmer, W. A., 178, 179, 180, 
277 

Pancost, Clara, 146, 273 

Pappas, Charles, 437 

Paquin, J., 277, 437 

Parcher, Samuel F., 331, 332 

Park, Henry, 347 

Park, Ruth A.. 437 

Parke, Mrs. Wilbur, 285 

Parker, Alice, 261, 292, 293 


510 


BIOGRAPHICAL INDEX 


Parker, Alston W., 256 
Parker, Ardelle, 437 

Parker, Charles, 340, 350 
Parker, Mrs. Charles R., 146 
Parker, Donald R., 256 
Parker, Mrs. E. E., 294 
Parker, Elvert E., 297, 298 
Parker, Florence M., 150 
Parker, Frank, 161: 

Parker, George J., 120 
Parker, Mrs. Gertrude S., 302, 


437 
Parker, G. L., 298 
Parker, Mrs. Horace, 146, 189 
Parker, Horatio, 202 
Parker, John, 194, 316 
Parker, lz Gab2:106 
Parker, Mrs. Joseph E., 
Parker, Ned, 195 
Parker, Otis Freeman, 437 
Parker, Sewell, 340 
Parker, Mrs. Walter, 437 
Parker, Mrs. Wilbur, 285 
Parker, Winthrop, 286, 288 
Parker, Mrs. W. H., 437 
Parkman, H. G., 155, 256 263 
Parkman, Lyman, 348, 349 
Parlin; Ech; 345 
Parlin, Gladys, 150 
Parmenter, Mrs. LeClare, 146, 


289 


437 
Parrott, Arthur F., Jr., 437 
Parsons, Dr. Alexander, 159 
Parsons, Mrs. Edward H., 294 
Parsons, Emily, 146, 263 
Parsons, Isaac, 63 
Parsons, Lora V., 226 
Parsons, Marion Louise, 278 
Parsons, Mrs. W. H., 226, 437 
Partridge, Allen, 191 
Partridge, Alma, 64 
Partridge, Annie, 191 
Partridge, Mrs. Ben, 226 
Partridge, James, 64, 346 
Partridge, Mrs. Robert, 276 
Partridge, Simeon, 64, 300 
Patch, Mrs. Clifford, 437 
Pates, Reta, 272, 437 
Patrick, Arthur, 353, 354 
Patrick, Catherine, 437 
Patrick, Mrs. Daniel C., 437 
Pattee, Lillian Mowry, 437 
Patten, Ada C., 437 
Patten, Charles R., 53 
Patten, Florence, 191 
Patten, Mrs. G. E. R., 
Patten, John, 43, 51, 
Patten, John S., 179 
Patten, S., 325 
Patten, Willard, 114, 176, 178, 

180 


195 
52, 53 


Patten, Zebulon S., 98, 116 
Patterson, Mrs. Blanche 
437 
Patterson, Harriet Frances, 437 
Patterson, Isaphine, 194 
Patterson, J. Lee, 193 
Patterson, Joe, 316 
Patton, Mrs. Lena Hall, 197 
Payne, Frederick G., 344 
Payson, Donald M., 268, 437 
Payson, Franklin C., 161 
Payson, Mrs. Franklin C., 146 
Payson, Mrs. Fred, 437 
Payson, Mrs. Herbert, 145, 148, 
150, 437 
Payson, Lillian B., 264 
Peabody, Ruth, 322, 438 
Peacock, Eleanor M., 438 
Peakes, W. B., 338 
Pearce, Charles, 154 
Pearce, Mrs. C. A; 226 
Pearson, Rev. D. A., 249 
Pearson, Mrs. Frank, 438 
Pearson, George H., 78 
Pearson, Horace G., 155 
Pearson, Mrs. Milo, 294 
Peary, Augustus, 100 
Pease, Burleigh, 179 
Pease, Mrs. Charles, 145 
Pease, Mrs. Fannie M., 249 
Pease, Harriet F., 256 
Pease, Isabel, 149, 438 
Peaslee, Earl, 277 
Peavey, Mrs. F. A., 285 
Peavey, Mrs. Fred H., 226 
Peavey, Olive M., 438 
Peck, Mrs. Bo fi thon eg 
279, 280 
Peck, Estelle, 279, 280 
Peck, Robert C., 353 
Peck, Mrs. Willard, 284, 438 
Peirce, Mrs. Florence, 293 
Peirce, Louise Dennett. 438 
Pelletier, Mrs. George, 285 
Pelletier, Oliver, 296 
Pelletier, Peter, 296 
Pendexter, Charles A., 190 
Pendleton, Cora M., 223 
Pendleton, Effie, 226 
Pendleton, Ellen, 102 
Pendleton, Villa Phelan, 194 
Penley, Hazel, 226, 294, 297, 


438 
Pennell, Albert E., 
164, 189, 190 
Pennell, Albert P., 77, 78, 117, 
118, 119, 120, 164, 190 
Pennell, Beatrice, 149 
Pennell, Charles J., 164 
Pennell, Charlotte, 164 
Pennell, Eliza, 190 


Es 


159, 160, 


Pennell, E. G., 161 

Pennell, Mrs. E. L., 294 

Pennell, Frances E., 86, 164. 

Pennell, Adi W., 
273, 43 

ee Aa George W., 23 


Pennell Gifays, ep 438 
Pennell, Lucy EB. 
Pennell. Mrs. Mabel, 275 
Pennell, Priscilla, 272, 438 
Pennell, Richard, 165 
Pennell, R. C., 190 

Peno, Joseph, 272 
Percious, Arthur T., 438 
Percy, Florence, 170 
Perham, Horace, 159 
Perkins, Mrs. Agnes, 303 


Perkins, Mrs. Charles, 276 od : 


Perkins, David Page, 438 


155 
Perkins, Enoch, 340 


Perkins, Hazel, 272, 274, uae 4 


Perkins, Mrs. James F., 275 
Perkins, John Carroll, 262 
Perkins, Mrs. Margaret, 438 
Perkins, Marjorie, 438 
Perkins, Newell, 340 
Perkins, Sadie, 288 


Perkins, wee Bit O., 116, 181 


Perkins, W., 
Perkins, Mees William, I9I 


Perrier, Mrs. Helen D. 288 a 


Perreault, Emile, 342 
Perreault, Irene, 305 
Perreault, Lucia, 305 
Perreault, Pierre, 295 

Perry, Amanda, 187 

Perry, Mrs. Annie B., 301 
Perry, Mrs. A. C., 299 
Perry, Charles Sprague, 438 
Perry, E. Beryl, 438 

Perry, Mrs. E. H., 294 


Perry, Mrs. Eva Prentiss, 438 : 


Perry, Frances, 187 
Perry, Horace, 102, 300 
Perry, Ilda, 290 

Perry, L. Stee 

Perry, Marion, 302 
Perry, Raymond C., 286 


Peters, Thomas B.. 254, 334, - 


439 
Petersen, Christian, 352 
Peterson, Edwin, 439 
Peterson, Ellen, 280, 285, 439 


Peterson, Ethel M225; 4400 | 7 


Peterson, Mrs. Fred, 288 
Peterson, Harold, 286 cares 
Peterson, Mrs. Leah, 147, ies 


439 


a 
a s 


Perkins, Mrs. David Page, 154, 


% g ” 
a 3 


162, 1664 4 


me 


a 


a 


BIOGRAPHICAL INDEX 


Peterson, Rev. O. W., 224 

Petit, Elizabeth, 439 

Say ovae Arthur N., 296, 297, 
344, 

Poca Mrs. Charles, 276 

Pettengill, Lawrence C., 340, 


439 
Petty, Mrs. Eliza, 439 
Petty, William, 260, 439 
Peverada, Angelina, 260 
Pevey, John M., 191 
Pfaff, Mrs. A., 280 
Phaneuf, Beatrice, 293 
Phantom, John, 191 
Phelps, F. W., 223, 224, 439 
Phelps, Mrs. F. W., 223 
Phelps, J., 338 
Philbrick, Mrs. E. H., 184 
Philbrick, Elizabeth, 184 
Philbrick, Fernando T., 316 
Philbrick, Pauline, 184 
Philbrook, Alice L., 146, 148, 
149, 150, 159, 164, 439 
Philbrook, A. P., 187 
Philbrook, Maurice Swain, 311 
Philbrook, ov Warren C., 
225, 304, 4 
Phillips, eee ie: boy 
136, 152 
Phillips, Mrs. Charles, 204 
Phillips, Emily, 182 
Phillips, Lena, 305, 439 
Phillips, Mrs. W. G., 294 
Phillips, William H., 439 
Philoon, Georgie, 293 
Phinney, Mrs. Chauncey, 259, 
274 
Phinney, Mrs. Emma M., 259 
Phinney, Mrs. George, 294 
Phinney, Mrs. Marshall M., 


289 
Phipps, Mrs. Frank H., 142 
Picher, Ludger, 342 
Pierce, Arthur D,, 120, 222, 


439 
Pierce, Mrs. Arthur D., 439 
Pierce, Mrs. A. F., 294 
Pierce, A. W., 222, 439 
Pierce, Mrs. A. W., 222, 440 
Pierce, Charles E., 159 
Pierce, Charlotte, 146 
Pierce, Mrs. Clyde W., 222, 


126. 


440 
Pierce, Frank, 162 
Pierce, Frank H., 120, 171, 260, 
263, 306, 440 
Pierce, Harry T., 263 
Pierce, Mrs. Harry, 276 
Pierce, Mrs. Herbert H. D., 
146 
Pierce, Howard T., 225 


Pierce, Irving, 440 

Pierce, Joshua, 311 

Pierce, Mrs. Josiah, 141, 142, 
148, 440 © 

Pierce, Mrs. Martha D., 142 

Pierce, Mrs. Mary Hill, 146 

Pierce, Mrs. Wilbur E., 280 

Pierce, William T., 119 

Pierre, Albert S., 440 

Pierson, Mrs. Birdena Powers, 
287, 440 

Pike, Al, 340 

Pike, Mrs. Cora F., 146 

Pike, Harriet, 146 

Pike, Harriet Louise, 275 

Pillsbury, Mrs. E. M.. 164 

Pillsbury, Lois, 147, 149, 289 

Pillsbury, William K. A., 180 

Pilote, Mamie, 297, 440 

Pilsbury, Hon. George H., 188 

Pine, Fred, 334 

Pingree, D. G., 161 

Pingree, Virginia Dean, 164 

Pinkham, Elizabeth, 146 

Pinkham, Ida May, 146, 263 

Piper, E. H., 89 

Piper, Frances Louise Cushing, 
440 

Piper, Mabel, 440 

Pitcher, Mrs. Edith C., 302 

Pitcher, Elbert Simmons, 193, 
194, 224, 225, 305, 321, 341, 


440 
Pitcher, Mrs: E. S., 
294, 314, 440 
Pitcher, Gladys, 194 
Pitts, Emily Cheever, 173 
Pitts, Mary Fenno, 173 
Pitts, Schubael, 59 
Plant, Rev. R. W., 224 
Plante, Alford, 440 
Plante, Alfred, 277 
Plante, Arthur, 342 
Plante, Chester, 440 
Plante, Joseph, 277, 440 
Plante, Mrs. Joseph, 277, 440 
Plewinski, Charles, 110 
Plummer, Arthur, 351, 440 
Plummer, Charles M., 286 
Plummer, Harriet, 52, 57 
Plummer, L. V., 297 
Plummer, Mary L., 440 
Plummer, Minnie, 119 
Plummer, Minnie A., 226 
Plummer, William, 351 
Plummer, Mrs. Winifred, 306 
Plummer, W. M., 188 
Poe, Edgar Allen, 36, 170 
Polakovitch, Louis, 255 
Polk, Lucy, 293 
Pollard, Alice E.., 


193, 194, 


440 


Sil 


Polleys, Louisa, 52, 57 

Polleys, Sarah E., 77 

Pollock, Paul, 440 

Pomerleau, Mrs. Pearl, 440 

Pomeroy, Elizabeth, 322 

Pomeroy, Mrs. F. E., 292, 294 

Pond, Mrs. E. A., 278 

Pond, Mrs. Galen, 222, 278 

Poole, Rebecca E., 146 

Pooler, Mrs. Agnes M., 301 

Pooler, Mrs. Ella, 183, 304 

Pooler, Frank, 349 

Pooler, Leonard L., 283 

Pooler, Robert E., 340 

Pooler, William C., 100 

Poor, Clarence Osgood, 
194, 224 

Poor, Henry, 52, 55 

Poor, W. O., 61 

Poore, Joseph H., 78 

Pope, Joseph, 43, 51, 52, 53 

Pope, Colonel William, 196 

Popham, George, 8 

Porcher, Mrs. G. C., 146 

Porter, F. Addison, 441 

Porter, George C., 343 

Porter, John H., 98 

Porter, Mrs. Mabel, 298 

Porter, Mrs. Mabelle, 287 

Porter, Willis, 349 

Fote, Harry 180,277 

Potter, Arthur, 351 

Potter, Corris, 286 

Potter, Mary Ella Morse, 300 

Potter, Mrs. Thomas H., 300 

Pottle, Mary E., 226, 293, 298 

Powell, W.-H. 223, 224 

Powers, Mrs. Ella, 287 

Powers, Mrs. E. Pauline, 288 

Powers, Mrs. H. T., 288 

Powers, Lillian G., 286 

Powers, Peter, 336 

Pratt, Mrs. Charles H., 164 

Pratt, Gos Co 9t20.28s4 

Pratt, Daniel W., 18 

Prett.<GeWe-116 

Pratt, Henry W., 154 

Pratt, John Haraden, 441 

Pratt, Mary, 302 

Pray: Mrs: C, -F-,.223 

Pray, M. A:°C., 249 

Preble, Mrs. S. E., 299 

Prescott, Edith F., 297 

Prescott, Florence, 146 

Presson, George McL., 349 

Preston, Bernice W., 146, 275, 
308 

Price, Thomas, 11 

Priest, Fannie E., 191 

Prince, Albert oh 297, 298 


193, 


512 BIOGRAPHICAL INDEX 


Prince, Carroll D., 343 
Prince, .Frank U3. 156, 
254, 255, 256, 272, 334 
Prince, Henry, 160 
Prince, Mrs. Sadie, 293 
Proctor, Annie E., 146 
Proctor, Kenneth, 305 
Prothero, Dr. Daniel, 257 
Provost, Mrs. Louis, 295 
Pullen, Elizabeth, 144 
Pullen, George D., 225, 305 
Pullen, Mrs. G. D., 226 
Pullen, Horace Mann, 222, 279, 


159, 


281, 283 

Pullen, Mrs. Stanley T., 142, 
148 

Pulsifer, Evangeline, 297 

Purington, Prof. George C., 
520 

Purington, Mrs. G. H., 260 


Purington, Nerissa. 274 
Purinton, F. B., 276 
Purinton, S. W., 276 
Purinton, Mrs. Solon, 276 
Purinton, Wallace, 353 
Purrington, Roy A., 25 
Putnam, Harold, 272 
Putnam, Rev. John, 203 


Q 


Quigley, Mrs. Corrine, 441 
Quimby, Aurelia E., 1o1 
Quimby, Charles W., 343 
Quimby, George A.. 263, 263 
Quimby, Mrs. J. He 194 
Quimby, Katherine, 194 
Quimby, Mrs. Royal, 191 
Quimby, William, 60 
Quinby, Mrs. J. E., 191 
Quinn, John, 335 


R 


Rackliff, Helen, 297 
Raeburn, Harry T., 442 
Raff, Joachim, 170 

Rafnell, Alfred Wilson, 442 
Rafnell, Erwin, 296 

Rafter, Mrs. Robert, 147 
Rale, Father Sebastian, 6, 7, 8 
Ralph, A. D., 225 

Ralph, Mrs. A. D., 225 
Ramsay, Allan, 442 
Ramsdall, Melba E., 442 
Ramsdell, E. E., 345 
Ramsdell, Miss M., 277 
Rancour, Leon J., 286 
Rancour, Marion, 286 
Rancourt, Leslie R., 286 
Rancourt, Liane, 305 
Rancourt, Roland, 305 


Rand, Mrs. A., 442 
Rand, Mrs. Edward M., 142 


148 

Rand, Mrs. Emily K., 144, 148, 
149, 150 

Rand, Dr. George H.., 
349, 442 

Rand, John Everett, 200 

Rand, Mabel, 226 

Randall, Earl, 285 

Randall, Mrs. E. A., 263 

Randall, Emma J., 186 

Randall, Emily, 285, 287, 320 

Randall, Harriet, 161 

Randall, Helen M., 146 

Randall, Marion P., 260 

Randeggar, Alberto, 191 

Randeggar, Lady Alberto, 442 

Ranger, Rev. J. B., 225 

Rankin, Frank L., 263, 303, 
327, 442 

Rankin, Mrs. Lucy, 302, 303, 
308 

Rankin, Mary, 442 

Ranks, Harry Wilder, 297 

Rapoport, Louis, 256 

Ratcliffe, Marion, 274 

Rawson, Robert S., 194 

Rawstron, Mrs. A. V., 
295 

Rawstron, Hazel Arris, 442 

Ray, Allen, 178 

Raymond, Annie Louise Cary, 
218, 219 

Raymond, Belle, 300 

Raymond, Charles 
217 

Raymond, Henry, 349 

Raynes, Edward, 336, 352, 


224, 225, 


294, 


Monson, 


53 
Raynes, George E., 335, 353, 
442 
Raynes, Joseph, 352, 353 
Raynes, Margaret, 283 
Read, Mrs. C. E., 194 
Read, Julia, 187 
Read, William M., 89, 90, 91, 


97, 99 
Reade, Charles B., 188 
Reade, John L., 298 
Ready, Inez Stevens, 283 
Reardon, Lois, 146 
Rebbechini, Serafino, 111 
Record, Mrs. Alice B., 293 
Records, Delton, 340 
Reddington, Alfred, 59 
Rediker, Emma, 304 
Rediker, Mrs. Maude L., 288 
Redlon, Elmer, 351 
Redman, Mrs. Edward S., 280 


Bee Mrs. Caroline Blood, 


Reed Clyde L., 303 
Reed, Mrs. Elsie D., 442 
Reed, Ei is eam 
Reed, Mrs. Elsie M., 288 
Reed, I.. Gardner, 351: 
Regan, Blanche, 442 
Rennix, Nellie G., 442  . 
Renouf, Heloise P., 193, 228g a 
2200 226, 442 
Renouf, Myrabelle, 443 
Renwick, George, 285 
Reny, Charles E416, 927 
Reny, Yvonne, 296, 443 
Reynolds, Mrs. Clarence, 284, — 
443 Sa 
Rice, Annie Louise, 164 
Rice, Carrie B., 311 
Rice, Eugene W., 283 
Rice, H. Edward, 283 
Rice, H. Herbert, 224 
Rice, Henrietta D.., 120, 146, | 
(148, 164; 279, 229) gag. 262, 
292, 306, 443 
Rice, Marshall N.., 
Rice, N. S., 89 
Rice, Richard S., 186 
Rice, William, 89, 113 
Rice, William E., ie a 
Rice, W. M., jr. a 
aoe Mrs. ‘age 146, 27h, 


118, T1908 7 


Rich Marshall N., 117, 1890 
Richan, Avard b., 298, 4499 
Richards, Alice M.. 224, 2a 


Richards, Mrs. Caroline, ee 
Richards, Charles G., 120, oO 4 
sh 159, 161, 254, 255, 334) : 


Richards, Elizabeth, 288 
Richards, Mrs. Emily A 186 4 
ee Mrs. Floyd, 147, 274, 4 


Richards, Frances, pe 57 
Richards, Hector EF. 296 
Richards, Laura E., 443 
Richards, Mary, 191 
Richardson, Albert, 184 - 
Richardson, Carroll M.., A. 
Richardson, Clarence M., 33% 


333, 334 
Richardson, Edward, 59, Ra 
Edwin A, 38am 
353 ; | 
Richardson, Edwina, 156 


Richardson, Mrs. Frank, 44 
Richardson, Mrs. Grace, 3 


443 


79 
Richardson, 


BIOGRAPHICAL INDEX 


Richardson, Herbert, 352 
Richardson, Hilda, 272, 443 
Richardson, Mrs. Ida, 443 
Richardson, Prudence Mary, 


443 
Richardson, Virginia, 303 
Richer, Alice, 295 
Richmond, Anita C., 443 
Richmond, C. Winfield, 226, 
284, 443 ; 
Richmond, Cora Pierce, 444 
Richmond, Mrs. W. A., 226, 
306 
Ricker, Mrs. C. A., 226 
Ricker, Charles F., 316 
Ricker, Charlotte Ginn, 311 
Ricker, Mrs. Cora, 260, 444 
Ricker, F. A., 225, 444 
Ricker, J. W., 190 
Ricker, Katherine M., 144, 
146, 149, 159, 161, 185, 227, 


444 
Riddle, George, 132 
Rideout, Nicholas, 185 
Rideout, Percy B., 343 
Rideout, Thomas T., 286 
Rideout, Walter J., 224, 227, 


444 
Ridgway, Mrs. James B., 289 
Ridley, Elizabeth Mae, 444 
Ridley, Mrs. F. C., 278 
Ridley, Harriet G., 297, 444 
Ridley, Isabel C., 286 | 
Ridley, J. P., 224, 225 
Ridley, Ruth S., 286 
Ridlon, Mrs. Charles H., 444 
Rigby, hej. 225, 335, 341, 


444 
Riggas, James C., 256 
Riggs, Mrs. L. W., 225 
Rikel, Frank, 255 
Riley, Arlen McKenney, 444 
Riley, John, 286 
Rines, Marion, 263 
Ringwall, K. A., 280, 281, 339, 


444 
Ringwall, Rudolph, 445 
Ripley, Aaron Bryant, 277, 445 
Ripley, Mrs. Charles E., 445 
Ripley, Hosea, 341 
Ripley, Mrs. Nora C., 298 
Ripley, Robert Samuel, 277, 
GE 
Ripley, Virginia, 150 
Ripley, W. S., 340, 341, 445 
Rizzo, Rosa, 260, 445 
Robbins, Mrs. Anna L., 260, 


445 
Robbins, Charles, 33 
Robbins, Mrs. C. W., 223 
Robbins, Donald Orman, 341 


Robbins, Ida Elizabeth, 445 
Robbins, Irvin, 256, 272, 445 
Robbins, Jack, 316 

Robbins, Mrs. Lillian, 293 
Robbins, Luther, 34 

Robbins, Mrs. Mabel, 298 
Robbins, Reginald Chauncey, 


445 
Robbins, Walter F., 304 
Robbins, Mrs. W. F., 292, 294 
Robbinson, Emma, 223 
Roberts, Mrs. Blanche L., 287 
Roberts, Byron, 178, 180, 280 
Roberts, B. P., 102 
Roberts, Doris, 308 
Roberts, Mrs. Edward, 178 
Roberts, Dr. E. J., 224 
Roberts, Fred, 303 
Roberts, George T., 343 
Roberts, J. O., 354 
Roberts, Mrs. M. A., 192 
Roberts, Mrs. Myra, 445 
Roberts, Rhena, 286 
Roberts, Ruth Olive, 264, 445 
Roberts, Mrs. Winnifred P., 


445 
Robertson, Edith, 146 
Robie, C. H., 263 
Robie, Fred Clarence, 350, 445 
Robie, Mrs. Lena, 189, 190, 


293 
Robie, Mrs. S. P., 224 
Robinson, Abbie A., 250, 251 
Robinson, Abby E., 191 
Robinson, Alton L., 283, 339, 


445 
Robinson, Blanche Atkins, 445 
Robinson, Mrs. C. A., 294 
Robinson, Rev. C. F., 304 
Robinson, Charles W., 78 
Robinson, Dana, 349 
Robinson, Edward B., 261, 324, 
325, 326 
Robinson, Emmons, 445 
Robinson, Frank E., 283, 340 
Robinson, Mrs. Grace Dean, 
303 
Robinson, Gwendoline Barnes, 
283, 285 
Robinson, G. M., 298 
Robinson, Hazel, 294 
Robinson, Helen Brown, 445 
Robinson, Herbert, 162 
Robinson, Jeremiah, 327 
Robinson, Mrs. John, 226 
Robinson, Mrs. Martha, 293 
Robinson, Mary, 146 
Robinson, Miriam, 178 
Robinson, Morris Reed, 321 
Robinson, Oscar, 316 
Robinson, Philip E., 334 


513 


Robinson, W. A., 188 

Robitalle, Jean, 316 

Roby, Charles E., 222, 446 

Roche, Mrs. Charlotte G., 260, 
263, 274, 446 

Roche, Mrs. George F., 146 

Rocheleau, Ida Elisette, 446 

Rodgers, Harry E., 297, 446 

Rogers, Augustine, 352 

Rogers, Carrie, 188 

Rogers, Grace A., 225, 226, 
322, 446 

Rogers, Leon B., 224 

Rogers, Mildred, 146 

Rogers, Thomas, 226 

Rogers, Velma, 278 

Rogers, Vivienne Iolia, 446 

Rokes, Beaulah, 302 

Rolfe, Doris, 446 

Rolfe, Walter, 313, 446 

Rollerson, Thomas H., 340 

Rollins, Mrs. Ada W., 293, 294 

Rollins, Doris Phebe Dow, 446 

Rollins, D. W., 227, 446 

Rollins, Elmira B., 197 

Rollins, F. W., 225 

Rollins, J. D., 187 

Rollins, Kenneth A., 349 

Rood, George S., 351, 352, 353 

Root, Dr. George F., 95, 96, 
403,114, 114, 116, 151 

Rosa, Parepa, 152 

Rose, Alton, 347 

Rose, Geneva, 302 

Rose, George E., 446 

Rose, Harris, 197 

ee Mrs. Mabel, 196, 290, 


44 
Rose, Nelson, 347 
Rose, Mrs. Stanley F., 226 
Rose, Mrs. S. M., 225 
Rosebrook, Alma Deane, 447 
Ross, Ada, 290 
Ross, Mrs. Laura E., 274, 275, 
447 
Ross, Margaret, 227 
Ross, May, 178 
Ross, Samuel, 334 
Rossbach, Rev. Adolph, 224 
Rossnagel, Elaine, 298 
Rounds, William, 337 
Roundy, Arthur F., 447 
Roussin, Alfred, 303 
Roussin, Odilon C., 303, 447 
Row, Clarence, 272 
Rowbotham, John, 298 
Rowbotham, Mary Elizabeth, 
297, 447 
Rowe, Arthur I., 283, 340 
Rowe, Mrs. A. W., 226, 447 
Rowe, Mrs. Belle, 293 


514 


BIOGRAPHICAL INDEX 


Rowe, Clarence H., 254, 335, 
447 

Rowe, Dana W., 298 

Rowe, Esther P., 322, 447 

Rowe, Mrs. Frank D., 447 

Rowe, Lillian, 293 

Rowe, Mildred, 447 

Rowe, Mrs. Mollie, 298 

Rowe, Rodney J., 340 

Rowell, E. W., 188, 190 

Rowell, Major, 89 

Rowland, Mrs. Lyman, 146 

Rowley, Edwin C., 447 

Roy, Adelard, 296, 297 

Roy, Emile H., 297, 447 

Roy, Henry F., 290, 291, 297, 


447 
Roy, Mrs. Henry F., 298 
Roys, Lincoln, 298 
Royal, James M., 286 
Royal, Mrs. James M., 286 
Rubinoff, David, 272, 335 
Rubinoff, Harry, 296 
Rudolphson, J. F., 121, 125, 


136, 207 : 
Rugg, Mrs. Ogarita Rose, 302 
Ruggles, Mrs. Margaret G., 


301, 302 
Ruggles, Richard, 328 
Rumery, Jerome, 118, 119, 120 
Rumery, one D172. R11: 
325, 44 
Ree: Mrs. Samuel D., 447 
Rumsey, Maurice C., 226 
Runciman, Mrs. Cara Baxter, 
146, 448 
Rice Mrs. Earle C., 


145, 
148, 258, 259, 448 
Russell, Abel D., 186 
Russell, Agnes, 146 
Russell, Mrs. Blanche T., 260, 


448 
Russell, Mrs. Carroll, 448 
Russell, Fred, 303 
Russell, Maude, 280 
Russell, W. A., 190 
Rutherford, Master Allen, 191 
Ryan, Addie, 311 
Ryan, A. G., 350 
Ryan, Lydia, 299, 448 
Ryan, Thomas, 158, 195 
Ryder, T. P., 116, 181 
Ryser, Alfred L., 263, 336 


S 


Sabattis, Soctomer, 354 

Sadie, Delle, 172 

Sadler, Edwin Marshall, 
258, 259, 448 


257, 


Sadler, Edwin W., 255, 257, 


258 
Sadler, Edyth Adele, 286, 287 
Saindon, Alfred, 342 
Saindon, Alphonse, 342 
Saindon, Joseph, 342 
Salis, John, 3 
Salls, Elwood, 354 
Sampson, Alden, 327 
Sampson, Arthur Laforest, 349, 
448 
Sampson, Mrs. H. M., 77 
Sampson, Leroy, 350 
Sampson, Samuel A., 256 
Sampson, Mrs. W. L., 224 
Samuels, M. Louise, 448 
Sanborn, Arthur, 196 
Sanborn, Charles, 249, 345 
Sanborn, Clayton H., 196, 197 
Sanborn, Elizabeth Brown, 448 
Sanborn, Emily F., 196, 197, 
226 
Sanborn, Mrs. E. H., 278 
Sanborn, Essie M., 193 
Sanborn, Frank, 196, 448 
Sanborn, Mrs. Frank, 196 
Sanborn, F. W., 342 
Sanborn, H. B., 187 
Sanborn, Mrs. Julia, 196 
Sanborn, Lucy, 196 
Sanborn, Percy A., 341, 448 
Sanborn, Mrs. Ruth E., 302 
Sanborn, Susan, 196 
Sanborn, T. A., 448 
Sanborn, Mrs. T. M., 196 
Sanborn, William H., 341 
Sanborn, Winifred, 194 
Sanders, Mildred, 304 
Sands, Albion, 191 
Sands, Eleanor Pepper, 
295, 298, 448 
Sands, Elizabeth H., 448 
Sands, F. B., 188 
Sands, Mrs. Harold, 299 
Sands, Mary E., 191 
Sandstrom, Electra, 288 
Sanford, Capt. E. H., 338 
Sanford, Fred S., 155 
Sanford, Lee, 449 
Sanford, Winifred Pennell, 449 
Sansom, Sarah Anne, 222, 449 
Sansoucy, Napoleon, 296, 298 
Santford, G. V., 115 
Santosky, Joseph, 272 
Sargent, Pauline D., 146 
Sargent, Walter, 296 
Sarto, Andrea, 248 
Saucier, Roger, 296 
Saunders, Aleck, 347 
Saunders, Fred Prescott, 449 
Saunders, Laforest, 347 


293, 


Savage, A. R., 188 
Savage, 


Savage, Daniel, 196 
Savage, May, 292 
Sawin, Harley F., 
Sawtelle, Mrs. John, 289 
Sawtelle, Mrs. M. E., 276, 449 
Sawtelle, Mrs. W. H. 
Sawyer, Albert C., 191, 192 

Sawyer, -Alice, 1 56 
Sawyer, Antonia Savage, 227, 

309, 449 


Sawyer, Ardelle, 223 rE a 


Sawyer, B., 68 

Sawyer, Bernice M., 283 
Sawyer, Florence A., 146 
Sawyer, George E., 263 
Sawyer, Harold C., 
Sawyer, Mrs. Helen, 449 
Sawyer, Howard, 272, 281 
Sawyer, James E., 286 
Sawyer, Mrs. John, 224 


Sawyer, Mrs. Lizzie N., 120 


Sawyer, Mary, 146 
Sawyer, Paul C., 340 


Sawyer, Roland J., 270, 280, E 


281, 286, 449 


Sawyer, Dr. Samuel E., 297% 


Sawyer, Mrs. Warren, 288 
Sawyer, William McC., 
280, 449 


Sawyer, Mrs. W. McC., 278, q 


283 
Sawyer, Mrs. Wilson, 180, 278 


Sawyer, Winfield F., 283, 340 — 4 


Scalar, Minne, 247, 449 
Scales, 


Schafer, Conrad, 187 
Schmidt, Arthur P. 173 
Schnecher, Harry, 308 


Schneider, Carl, 254, 277, 450 q 


Schonland, Charles, 334 


Schoolcraft, Mrs. Earl, 299 : 


Schreyer, Harriet, 450 
Schumacher, Augusta, 275 
Schwafile, Barnard, 182 
Schwartz, Laura, 177 
Schwartz, Michael, 179 
Schwenke, Lillian, 149, 
272, 450 
Schwenke, Marion L., 149, 156, 
450 


so 


Scott, Clara, 172 a 
Scott, Mrs. "Gertrude, 200 sm 


Scott, Hannah, 294 

Scott, Mrs. Hazel, 294 
Scott, Mrs. John, 145 — 
Scott, Mrs. Violet S., 287 — 
Scribner, Sarah W., 450 


C., 449 a 
Savage, Mrs. Chavala, 287 i 


277 a 


» 180 


280, 281 


Mrs. N. Ni, 3228; 226 a 
Scannell, Mrs. distin 293 a a 


7 


wi 


ee 


a 


a 


“a 


BLOGRAPHICAL INDEX 


515 


Scruton, E. F., 188, 298 
Scruton, Mrs. E. F., 298 
Scruton, John, 296 

Seaford, Mrs. Florence, 263 
Seaford, Mrs. Harry, 147, 275, 


450 
Searle, Cyril, 58 
Searle, Dr. Frank W., 
254, 273 
Searles, A. W., 66 
Sears, Elsie Dickie, 450 
Sears, Frances, 102 
Sears, M. B., 89 
Seaver, J. T., 191 
Seaver, Mrs. J. T., 191 
Seavey, Flora I., 450 
Seavey, F. W., 224 
Seavey, Mrs. Josie R., 191 
Seavey, Reuben, 89 
Seavey, W. L., 338 
Seavy, Manson, 191 
Seidel, J. Harry, 224 
Seidel, Mrs. J. H., 146 
Seiders, Mary A., 146, 
150, 157, 450 
Seidl, Anton, 235, 237 
Sellea, Helen Elizabeth, 450 
Sellers, Herbert, 180 
Sellers, Jennie, 115, 178, 180 
Semple, Annie, 178, 261 
Senter, Fred, 155 
Sewall, E. P., 187 


253, 


148, 


Sewall, Matilda, 198 . 
Sewall, oe * Ro ke 63 
Seward, W.H 


Sewell, Rev. in S. 114 

Sewell. Mrs. Laura, 191 

Shackford, Mrs. Emily, 293, 
298 

Shackley, Albert, 254, 450 

Shackley, Ebenezer, 323 

Shackley, Fred N., 297 

Shackley, George A., 256 

Shannon, Charles T., 191, 192 

Shannon, Charles W., 179, 191, 
192 

Shannon, Mrs. C. W., 191, 192 

Shannon, James H., 191 

Shannon, Mabelle S., 192 

Shannon, Deacon Richard, 192 

Shannon, Richard Cutts, M.D., 
192, 328 

Sharlow, Myrna, 248 

Sharpe, Mrs. Ellen, 288 

Shattuck, Mrs. Charles, 146 

Shattuck, J. F., 188 

Shaw, Mrs. Ada M., 287 

Shaw, A. J., 188 

Shaw, Alice Marion, 450 

Shaw, Dr. A. P., 110 

Shaw, Benjamin T., 283, 340 


Shaw, Mrs. Carrie Burpee, 226, 


301, 450 
Shaw, Charles Carroll, 450 
Shaw, Cornelia E., 119 
Shaw, Mrs. E. P., 142 
Shaw, E. Raymond, 255, 277, 
450 
Shaw, Eugene, 350 
Shaw, Francis G., 283, 340 
Shaw, Frank L., 343 
Shaw, Frank W., 154 
Shaw, Harriet A., Ae 
226 
Shaw, Harriet Reed, 451 
Shaw, H. Earle, 255, 258, 259, 
273, 451 
Shaw, Harris S., 451 
Shaw, Mrs. Hazel G., 287 
Shaw, Helen B., 322, 451 
Shaw, Helen M., 451 
Shaw, Howard N., 451 
Shaw, Howard M., 255 
Shaw, John, 451 
Shaw, John R., 109 
Shaw, Joseph W., 343 
Shaw, Joshua, 78 
Shaw, Mrs. Laura, 303 
Shaw, Mary, 109 
Shaw, Mildred, 146 
Shaw, Oliver T., 203 
Shaw, Ruth, 289 
Shaw, Mrs. W. F., 
178, 180 
Shaw, William C., 332 
Shaw, Winifred L., 222 
Shaylor, Georgina, 308, 451 
Shea, Claire, 260, 451 
Shea, Clifton, 296 
Shea, Louis Fletcher, 451 
Sheehan, Mrs. Daniel, 275 
Sheehan, Etta Reed, 149, 451 
Sheldon, Parker, 325 
Shepherd, Mrs. Helen, 184 
Shepley, Anna H., 142 
Shepley, Judge Ether, 163 
Sheppard, Capt. John, 25 
Sheppard, Sarah C., 25 
Sherman, Mrs. F. S., 222 
Sherwin, William H., 184 
Shevenell, Yvonne, 260, 451 
Shields, Hazel, 260, 451 
Shiffer, Maurice, 296, 451 
Shirley, Arthur, 35 
Shirley, Elizabeth C., 146 
Shorey, Mrs. Helen, 306 
Shorey, Mrs. H. A., Jr., 306 
Shorey, Vernon L., 350 
Shurtleff, Mrs. W. H., 145, 146 
Shute, Mildred E., 451 
Sibley, Ammi Cutter, 341 
Sibley, Mrs. Kathleen, 261 


177, 


115, 177, 


Siegars, Mrs. John Albert, 451 
Siegal, Charles, 296, 452 
Siemens, Alexander, 164 
Siemens, Mrs. Alexander, 145, 


452 
Silliman, Rev. Vincent B., 75, 
255, 258, 452 
Silsby, George S., 

279, 280 
Silsby, Mrs. George, 279 

Silsby, Lillian E., 179 
Silsby, Mae, 178, 179, 203, 

226, 278, 279, 280 
Silverman, Sara, 452 
Simard, Angelina, 2904, 452 
Simard, We Pe g49e ace 
Simensky, Blanch A., 452 
Simensky, Silas, 342 
Simmons, Alice, 194 


114, 179, 


Simmons, Franklin, 122, 285 
Simmons, Mrs. Gretchen A.. 
452 


Simmons, L., 187 

Simmons, Richard, 296 
Simmons, Winnie, 302 

Simonton, Emma, 183 

Simonton, Mrs. Grace G., 274 

Simonton, William W., 256, 
273, 353, 452 

Simonton, Mrs. William, 275, 
452 

Simpson, Mrs. F. M., 278 
Simpson, Gertrude, 222 
Simpson, Jack, 334 

Simpson, James, 345 

Simpson, Mrs. Maude, 303 

Sinclair, Marion, 322, 452 

Sincock, Elizabeth, 287 
Singhi, John, 102, 341, 346 

Sinkinson, Mrs. Edward P.., 


289 
Sinkinson, Elizabeth, 289 
Sipprelle, Mabel M., 283 
Sipprelle, Mrs. V. K., 280 
Sirois, Louis, 272, 273, 452 
Sisson, Ruth, 1 
Skillin, Agnes L., 306 
Skillings, Daniel, 334 
Skillings, Mrs. H. R., 294 
Skinner, Otis, 224 
Skolfield, cee Jie 269) 203: 
294, 297, 45 
Skolfield, A. J., ae 
Skolfield, Mrs. ‘Annie, a2 
Skolfield, Eleanor, 286 


Skolfield, Mrs. Gertrude R., 
288 
Skolfield, Mrs. Raymond H.., 


452 
Slack, H. Carleton, 309 
Sleeper, Caroline, 101 


516 BIOGRAPHICAL INDEX 


Sleeper, Mrs. Frank E., 146 

Sleeper, Helen Nash, 190, 293, 
298, 452 

Sleeper, Henry Dyke, 134, 309 

Sleeper, Nancy T., 64, 182, 
183, 301 

Sleeper, Sherburne, 61 

Slipp, Mrs. Robert, 288 

Slocumb, W. W., 224 

Slosberg, Charles, 452 

Slosberg, Samuel, 277 

Slugg, Morris L., 194 

Small, Arnold, 288 

Small, Rev. A. K. P., 115, 116, 
179 

Small, Mrs. Augustus, 181, 187 

Small, Barbara, 287, 288 

Small, Charles W., 337, 350 

Small, Clifford, 349 

Small, Mrs. Clinton, 452 

Small, Emma, 288 

Small, Harry Cy 452 

Small, Lin., 340 

Small, Mrs. Margaret, 226, 452 

Small, William B., 52, 54, 78, 


452 
Smalley, E. A., 354 
Smart, Mrs. Celia, 275 
Smart, Clara Bb 1922.452 
Smart, Mary C., 322, 452 
Smiley, Albert, 183 
Smiley, Luella Cook, 303, 452 
Smiley, Thomas, 256, 263, 453 
Smith, Abial M., 118, 142 
Smith, Mrs. Abial M., 
148, 157, 453 
Smith, ine P2259. 1292 9274: 
300, 
Smith, Bibra Vinal, 322, 453 
Smith, Alfred T., 254, 453 
Smith, Mrs. Alfred, 146 
Smith, Andrew. 349 
Smith, Mrs. Augusta Mann, 
453 
Smith, Beatrice G., 453 
Smith, Bertelle A., 222, 224 
Smith, Mrs. Bertelle A., 222 
Smith, Blanche, 304 
Smith, Caroline Estes, 453 
Smith, Catherine, 453 
Smith, Celia French, 453 
Smith, Charlene, 226 
Smith, Christian, 352 
Smith, Christie, 352 
Smith, Clara E., 263 
Smith, (CF 447 
Smith, Mrs. Clarice M., 


453 
Smith “Gi Piceietee 
Smith, Daniel, 52, 55 
Smith, Dexter S., 285 


LEO; 


274, 


Smith, Dorothy, 285 

Smith, Elisha M., 337, 338 
Smith, Elizabeth, 284, 297 
Smith, Ethelynde S., 146, 227, 


453 
Smith, Flora, 285 
Smith, Florence, 306, 453 
Smith, Forest Glen, 453 
au Mrs. Frances Skolfield, 
28 
Smith, Mrs. Frank A., 289 


Smith, Mrs. Fred, 146, 276, 
294 
Smith, G. D., 101, 181 


Smith, George E., 224 
Smith, George V., 316 
Smith, Georgiana, 324 
Smith, Gertrude, 293 
Smith, Mrs. Grace P., 306 
Smith, G. W., 188 

Smith, Hans, 352 

Smith, H. A., 225, 304, 454 


Smith, Mrs. H. A., 226, 304 - 


Smith, Harold, 305 

Smith, Helena, 279 

Smith, Mrs. H. M., 114, 184 
Smith, Jessie, 298 

Smith, J, A. 327, 426 

Smith, J. Hartley, 188 
Smith, J. N:, 223, 224, 225 
Smith, John, 352 

Smith, Kilton, 354 

Smith, LC. 354 

Smith, Lewis E., 161 

Smith, Louis E., 298 

Smith, Lydia, 299 

Smith, Mrs. Maud Simpson, 


303 
Smith, Mrs. Minnie D., 226 
Smith, Muriel, 147, 308, 454 
Smith, M. P., 186 
Smith, Natalie, 290 
Smith, Olive, 285 
Smith, Philip, 286 
Smith, Ralph Fisher, 454 
Smith, Mrs. Ralph, 276 
Smith. Richard Stanley, 454 
Smith, Robert Thornton, 454 
Smith, R. W., 249, 284 
Smith, Samuel Francis, 67, 68 
Smith, Susie C., 191 
Smith, Thomas, 12, 14 
Smith, Mrs. Thomas, 276 
Smith, Major T. John, 336 
Smith, W. A., 354 
Smith, Walter S., 

264, 454 
Smith, Mrs. 


157, 265) 


27h ee 
Smith, William, 350 


Walter S., 274, 


Smith, Wynifred Staples, 454 

Smyth, Joseph, 352 

Smyth, Olive, 284, 454 

Snell, C. G., 350 

Snell, June, 322, 454 at 
Snell, Lillian Lucinda, 353, 454 
Snow, Albert W., 149, 307 
Snow, Annette, 184 4 
Snow, David W., 158, 161, 307 | 
Snow, Mrs. David W., 146, 148, 


454 | 
Snow, Mrs. E. E., 278 
Snow, Mrs. Edward H., 

260, 454 
Snow, Ellen, 184 
Snow, Mrs. Eva, 182 
Snow, Evelyn, 302 
Snow, Frances, 102 
Snow, Harriett C., 302, 454 
Snow, Josie, 306 
Snow, Luella, 181 
Snow, Mary Louise, 455 
Snow, Natalie, 302 
Snow, Temple H., 200. 
Snow, W. M., Jr., 181 
Snyder, Beane Ce 225 
Soctomer, Simon, 3 54 
Solari, Louis, 289 
Solomus, Ireneus, 261 
Somers, T. J., 120, 154 
Sonneck, Oscar G., 17 


146, ; 


- Soucie, Mrs. Viora A., 287 


Sotle, Arthur C., 249 
Soule, Mrs. Arthur Ko 2A 
Soule, Ellen, 305. 

Soule, Ethan A., 256, 272 
Soule, Katherine, 249 

Soule, Lillian, 146, 294, 455 
Soule, Mrs. Mary B., 249 a 
Soule, Mrs. Mildred, 260, 455 
Southard, Carroll, 350 © 
Southard, Mrs. Frank, 276 _ 
Southard, L. H., 113, 114, 116, 

181 
Souther, Rev. Samuel, 22 
Southgate, Horatio, 38, 41 
Souviney, William H., ieee 
Spalding, Dr. James A., 

329, 455 ‘a 
Spalding, Walter R., 134. 139 a 
Sparks, Mrs. Gertrude, 280 
Sparks, Rev. W. A., 224, 225 
Sparrow, Elizabeth, 311 
Sparrow, Thomas J., 78, 323 
Spaulding, Atwood W., 224 
Spaulding, Helea Bostrom, Ass. { 
Spear, Mrs. Clara L., 301 
Spear, Eleanor, 256 
Spear, Elkana. 64. 65, 101 
Spear, Mrs. Eva F., 455 
Spear, Mrs. F. R., 182 


BIOGRAPHICAL INDEX 


Spenard, Miss E., 455 

Spenard, Leo, 342 

Spear, Mrs. Guy L., 294, 298 

Spear, Harvey, 64 

Spear, Helen, 150 

Spear, Julia, 181, 182, 300 

Spear, Katherine, 302 

Speare, Rev. S. L. B., 115, 116 

Spencer, Janet, 172 

Spencer, Wilbur C., 313 

Sperry, Prev. Paul., 225, 285 

Spiller, George R., 351 

Spiller, William, 352 

Spinney, Gordon, 349 

Spofford, Harriet, 64, 65 

Spofford, John, 64 

Sprague, Adelbert Wells, 225, 
339, 455 : 

Sprague, B. C., 325 

Sprague, John, 97 

Sprague, Mrs. M. Irene King, 
455 

Sprague, O. A., 225 

Sprince, Dr. Henry, 297, 455 

Spring, Mrs. Samuel E., 148 

Spring, Theron H., 286 

Springall, Joseph K., 456 

Springer, Moses, Jr., 31 

Stabler, Dean, 300 

Stackpole, Angela, 177 

Stackpole, Mrs. E. S., 278 

Stackpole, Mary Elwell, 456 

Stacy, John F., 286, 456 

Stacy, Reginald, 456 

Stahl, Margaret G., 302 

Stahl, Marjorie, 226, 456 

Staley, Della, 306 

Staley, Mrs. Dora, 306 

pialey, Mrs. LeVanche, 306, 


45 
Standish, William T., 337 
Stanfield, Eva E., 306 - 
Stanley, Dr. Albert F., 109 
Stanley, Charles L., 348 
Stanley, Jane Elizabeth, 197 
Stanley, John, 65 
Stanley, Dr. John P., 297, 298, 
456 ; 
Stanley, Juliet, 197 
Stanley, Marion Isabelle, 456 
Stanley, Mary, 197 
Stanley, Orrin, 110 
Stanley, Pete, 354 
Stansfield, Harry, 351 
Stanton, James, 192 
Stanwood, Daniel, 275 
Stanwood, Ernest T., 456 
Stanwood, J. H.. 184 
Stanwood, Mrs. L. J., 184 
Stanwood, Mrs. Thora Giorloff, 
298, 457 


\ 


Staples, Charles, 119 

Staples, Cyrus, 74, 77, 78 

Staples, Eugene Hale, 457 

Staples, Ezra, 186 

Staples, Master Fred, 191 

Staples, Mrs. Harry, 294 

Staples, James S., 86 

Staples, Ruth, 294, 457 

Starbird, Angie, 292, 293, 294, 
297, 457 

Starbird, Anna, 164 

Starbird, Bertram, 349 

Starbird, Mrs. Charles, 294, 
295 

Starbird, Lester, 349 

Starbird, Mabel, 298 

Starbird, Myron, 349 

Starr, Eliza, 161 

Starr, Florence, 300 

Starr, Leander, 65, 182 

Stearns, Arthur B., 224, 285 

Stearns, Louis C., 227, 457 

Steele, Mrs. Ethel Gould, 295, 
457 

Steele, Thomas, 298 

Steeves, Mrs. Louise, 285 

Stephens, Mrs. Minne S., 457 

Stephenson, Ronald B., 457 

Stephenson, Mrs. Wentworth, 
146 

Sterling, Athene, 147 

Sterling, Irene, 147 

Stetson, Aimee L., 286 

Stetson, Prof. Carlton B., 224, 


304 
Stetson, Clarence C., 224, 227, 
457 
Stetson, Gif -1ss 
Stetson, Mrs. George, 194 
Stetson, Hon. Isaiah, 116 
Stetson, Laura, 293 
Stevens, Algernon, 160 
Stevens, Arthur, 256, 272, 335 
Stevens, Bradford, 343 
Stevens, Caroline W., 220, 457 
Stevens, Mrs. D. A., 299 
Stevens, Mrs. Dorothy, 298 
Stevens, Ebenezer C., 52, 55 
Stevens, Mrs. Emily W., 301, 
302, 458 
Stevens, Mrs. Emma L., 293 
Stevens, Filone F., 187 
Stevens, Mrs. F. P., 299 
Stevens, Mrs. Frederick J., 
147, 148 
Stevens, George, 346 
Stevens, Granville M., 159 
Stevens, Dr. Horace, 184 
Stevens, Herman, 102 
Stevens, Howard R., 227, 255, 
256, 257, 258, 260, 263, 458 


517 


Stevens, Mrs. John, 299 

Stevens, Mrs. J. S., 278 

Stevens, Julia, 161 

Stevens, Mary A., 293 

Stevens, Nettie French, 317, 
458 

Stevens, Paul, 342 

Stevens, Samuel, 87 

Stevens, Samuel H., 141, 147, 
159, 325 

Stevens, Sophronia, 187 

Stevens, Tracy, 349 

Stevens, Vilena, 187 

Stevens, Mrs. William, 222 

Stevens, William B., 298 

Stevenson, Esther, 302, 322, 
458 

Stevenson, Louis S., 264, 458 

Stevenson, Louise S., 147 


Stevenson, Mrs. Wentworth, 
172 

Steward, Bertha, 147, 263 

Steward, Henry, 184 

Steward, Joseph, 184 

Steward, Mrs. Philo, 311, 458 

Steward, Solomon, 32, 33 

Steward, Solomon, Jr., 33 

Steward, Zilpha, 33 

Stewart, Columbus, 89, 99 


Stewart, Mrs. David, 142 
Stewart, Emma E., 186 
Stewart, Harriet L.,-222, 280, 
284, 458 
Stewart, Hartley M., 458 
Stewart, Ray, 349 
Stewart, W. P., Jr., 286 
St. Germain, Ross, 284 
Stickney, Charles O., 316 
Stickney, John, 88 
Stickney, Moody T., 177, 179 
Stickney, Paul, 88, 89 
Stickney, Thomas G., 179 
Stickney, TJ, 114; 11s 
Stigman, Mrs. William R., 289 
Stiles, Vernon, 253 
Stilphen, Cecil, 254, 458 
Stiphen, Dr. Harry L.; 254, 
458 | 
Stimpson, Dorothy, 286 
Stimson, Frances, 149 
Stimson, F. W., 225, 254, 458 
Stimson, H. L., 336 
Stinchfield, Florence E., 147, 
189, 190 
Stinchfield, O. D., 225, 297, 


458 
Stinchfield, Roy, 349 
Stinson, Gladys, 147 
Stockbridge, Almon, 347 
Stockbridge, Anna, 147, 148, 
161, 226, 285, 459 


518 


Stockbridge, Ira C., 
203, 325, 326, 459 
Stockbridge, Marcia, 205 
Stockbridge, Maria, 205 
Stockbridge, William H., 120 
154, 159, 164, 189 
Stockbridge, William R., 205 
sare Amy, 193, 194, 226, 


Stoadard, Coan 352 

Stoddard, Munroe, 352 

Stone, George B., 353 

Stone, I. G., 286 

Stone, Mrs. Lester F., 459 

Stone, Mrs. Margaret A., 298 

Stone, S. A., 326 

Stoneham, Peter W., 333 

Storer, Mrs. Lydia R., 302, 459 

Storey, Julian, 245 

Storey, P. J., 254, 255, 334, 
459 

Stott, Harry, 313, 459 

Stover, Mrs. Abby, 306 

Stover, Fannie, 306 

St. Pierre, Mrs. J. B., 295 

Strakosch, Maurice, 209, 212, 
215 

Strauss, Johanna, 153 

Straw, Howard M., 459 

Straw, Lona, 198 

Strayholm, H., 261, 459 

Streeter, Horace R., 91, 98 


154, 170, 


Strickland, Anna, 280, 281, 
284, 285, 308, 459 

Strickland, Mrs. May Ross, 
180 

Strout, Alfred M., 286 

Strout, F. L., 249 

Strout Mrs. Ja Ce Fo 9s63 


Strout, Margaret, 260, 459 
Stuart, Mae, 459 
Stubbs, Annie Howard, 459 
Stubbs, Frank, 334 
Stubbs, Mrs. Richard H., 460 
Stubbs, Winfield L., 340 
Sturgis, Mrs. David W., 28 
Sturgis, Mrs. Horace, 276 
Sturgis, Mrs. Lillian, 293 
Sturdivant, Dr. G. L., 225 
Sturdivant, Mrs. G. L., 226 
Sturdivant, Mary, 147 
Sturtevant, Bhima M., 460 
Sturtevant, Chester H., 460 
Sturtevant, Elliott, 296 
Sturtevant, George, 340 
Sturtevant, Mrs. James, 146 
Sturtevant, Walter H., 224, 
225 
Sturtevant, Will, 340 
Sullivan, Blanche, 193 
Sullivan, Helen, 302 , 


Sullivan, John, 352, 353 
Sullivan, J. M., 176 

Sumner, M., I91 

Sumner, J. M., 191 

Sumner, Lulie, 189 

Sumner, Miss L. P., 188 
Sumner, Miss M. F., 190 
Sumner, Seth, 153, 190 
Sundelius, Marie, 248 

Surette, Thomas Whitney, 134, 


139 
Swallow, C. Cawthorn, 147 
Swan, Dr. Charles, 224 
Swan, Deborah, 184 
Swan, Mrs. Francis, 249 
Swan, Marcia B., 147 
Swasey, Mrs. Albert C., 224 
Swears, George, 354 
Sweatt, Ida D., 322, 460 
Sweatt, Joseph Elmer, 460 
Sweet, Annie, 178, 261 
Sweetser, A. S., 343 
Sweetser, Benjamin, 68, 
Sweetser, Frank, 343 
Sweetser, Prof. Frederick R., 
182, 183, 231, 300, 301, 343 
Sweetser, George D., 343 
Sweetser, Loring B., 343 
Sweetser, Mrs. Susan, 460 
Sweetser, Virginia C., 147, 274, 
460 : 
Sweetser, W. D., 343 
Swenny, William, 342 
Swenson, Grace, 287 
Swett, C. F., 119 
Swett, Clyde Irving, 460 
Swett, Lorenzo, 342 
Swett, Stephen, 52, 55 
Swift, Mrs. E. Sprague, 230 
Sylvain, Mrs. Ludger, 289 
Sylvain, Marion Haynes, 460 
Sylvester, Mrs. I. E., 298 
Sylvester, Lucy, 182 
Symmes, Rev. Thomas, 11 
Symonds, Elwin, 200 
Syphers, Elinor, 287, 288 


Lik 


T 


Tadder, Delmino, 460 

Tainter, Gilbert Ernest, 460 

Talbot, Mrs. Alice B., 196, 
197, 460 

Talbot, Mrs. Arthur F., 289 

Talbot, Augusta, 461 

Talbot, Clara S., 196, 461 

Talbot, Mrs. Edward Eager, 


461 
Talbot, Effie W., 222, 461 
Talbot, Mrs. Elizabeth B., 1 


BIOGRAPHICAL INDEX 


Talbot, Mrs. Frances L., 


263, 461 
Talbot, Frederick F., 161 


bei Mrs. Helen W., 260, ; 


Talbot, Kate Dorothea, 461 


Talbot, Lillian, 147, 149, 253, 4 


274, 461 
aire. Marion, 196, 197, 226, 


Talbot, Micah J., 196 
Talbot, Pearl F., 322, 461 
Talcott, Mrs. Louis, 306 
Tanner, Mrs. Sadie, 293 
Tapley, A. A., 191 
Tapley, O. W., 224, 225 
Tappen, H. L., 224, 304 
Tarbox, Ida K., 147, 275 
Tarbox, if Currier, 186 
Tarbox, Jordan, 349 
Tee Mrs, Charles, 145, 275, 


Tacx: Lona, 293 
Taylor, Albert B., 
227, 461 
Taylor, Mrs. A. B., 222, 278 
Taylor, C. E., 338 
Taylor, Eleanor, 290, 461 
Taylor, Ethyl fen 2 ep 
Taylor, Joseph, 3 fi 
Taylor, Mrs. Joseph, 276 
Taylor, Mrs. Lillian, 293 
Taylor, Mrs. N. S., 292, 293 
Taylor, Ralph E., 352 
Taylor, O. Stewart, 272 
Taylor, Winona, 305 
Taylor, Zenas, 347 
Teague, Daniel, 350 
Teaubalt, Lillian, 288 
Teaubalt, William, 288 
Teel, H. E., 298 
Teel, Maud, 292 
Tefft, Laura, 280 
Temple, Mrs. Ethel, 293 
Temple, Louise, 294 
Tennant, George Ware 
Tenney, N. & 38 
Tenney, Samuel, 31, 89 
Ter Linden, Johann GR 587 
Terreault, Gedeon, 316 
Terrill, Annetta, 290 
Testa, Angelo M., 461 
Tetley, Mrs. Josie, 303, 462 
Tetreault, Irene, 276, 277 
Tewksbury, Clinton, 119, 120 
Tewksbury, Edwin F., 283 


Tewksbury, Helena M., 222, F 


280, 281, 284, 462 
Thacker, R. P. E., 181 
Thalheimer, Mrs. John, 287 


Thaxter, Joseph W., 222, 462 a 


260, 3 


ae pal ia . 


222, 224 0mm 


BIOGRAPHICAL INDEX 


519 


a ee Se a ee nesses pesnehesesinsnsepssnennenenessasineeemienvsiemnesseasc! 


Thaxter, Sydney, 179 

Thaxter, Mrs. Sydney W., 147 

Thayer, Grace, 303 

Theberge, Charles, 296 

Theis, Ernest, 261, 462 

Theis, Marion W., 147, 149, 
275, 305, 308, 462 

Thibault, Alice, 462 

Thibault, Rose, 286 


Thibodeau, Antoinette, 284, 
462 

Thibodeau, Daniel, 316 
Thieme, Berthold W., 344, 


347, 350, 462 
Thom, Julia St. Felix, 147 
Thomas, Dr. Charles W., 87, 
166, 261, 262 
Thomas, Charlotte, 166 
Thomas, Clara, 302, 462 
Thomas, Edward H., 165, 166 
Thomas, George A., 78, 87, 120, 
155, 164, 165, 166, 185, 349 
Thomas, Mrs. Hadden, 290 
Thomas, J., (pseudonym), 313 
Thomas, John P., 255, 258, 
273, 462 
Thomas, Mrs. John P., 258 
Thomas, Mrs. Joseph, 298 
Thomas, Margaret, 303 
Thomas, Muriel, 306 
Thomas, Ruth, 302, 322, 462 
Thomas, Susan A., 147 
Thomas, Theodore, 125, 134, 
136, 149, 179, 200, 203, 212, 
217 
Thomas, Mrs. Theodore, 149 
Thomas, Walter, 331, 332, 334 
Thomes, Charles R., 27, 101 
Thomes, Dorothea, 147, 148, 
263, 273 
Thomes, Edward, 352 ; 
Thomes, Frank E., 255, 256, 
462 
Thomes, John B., 343 
Thomes, Oren S., 185 
Thomes, Mrs. Oren S., 185 
Thomes, Robert S., 256, 343 
Thomes, William, 263 
Thompson, Gen. Abner B., 62 
Thompson, Charles, 190 
Thompson, Mrs. C. H., 294 
Thompson, Mrs. Cleo J., 306 
Thompson, Denman, 332 
Thompson, Dorothy K., 462 
Thompson, Elizabeth, 226 
Thompson, George N., 348 
Thompson, Mrs. Harry, 276 
Thompson, Henry, 352 
Thompson, Herbert E., 283 
Thompson, Horatio Palmer, 
341 


Thompson, Mrs. Ida M., 298 
Thompson, James E., 286 
Thompson, Mrs. Janie N., 148 
Thompson, John H., 62 
Thompson, Mrs. J. N., 164 
Thompson, Mrs. Joseph P., 
142, 148, 462 
Thompson, Lottie, 190 
Thompson, Mrs. Luther, 28s, 
463 
Thompson, May, 147 
Thompson, Mrs. N. Ward, 147 
Thompson, Mrs. S. E., 120 
Thompson, Mrs. Samuel S., 
147, 260, 273, 274, 308, 463 
Thompson, Sinclar A., 273, 463 
Thompson, William D., 1109, 
120 
Thompson, Mrs. William P., 
222 
Thompson, Winnie, 298 
Thorndike, Mrs. William, 102 
Thorne, Ann A., 187 ; 
Thorne, A. D., 187 
Thorne, Gertrude, 463 
Thorne, Josie, 189, 190 
Thorne, Thomas D., 89, 187, 
190 
Thurlow, Emeline D., 184, 187 
Thurlow, G. M., 153, 184 
Thurlow, Mrs. L. Ellen, 187 
Thurlow, Mrs. M. E., 300 
Thurlow, Mrs. P. M., 190 
Thurston, Florence, 463 
Thurston, Mary L., 165 
Thurston, Samuel, 73, 76, 77, 
78, 85, 86, 87, 89, 90, 100, 
109,117, 2118;,°119,° 124) 151, 
154, 162, 163, 164, 165, 168, 
262, 317, 325, 326 
Thurston, Mrs. Teresa Tuck, 


284, 463 
Tibbetts, Chandler, 181, 300 
Tibbetts, Charles, 52, 54, 102 
Tibbetts, Mrs. Charles, 102 
Tibbetts, C. M., 346 
Tibbetts, George A., 258. 463 
Tibbetts, Grace, 149, 256, 272, 
274, 463 
Tibbetts. Maria, 181 
Tibbetts, Dr. Samuel, 102, 182, 


183 
Tibbetts, Mrs. Samuel, 102, 


403 
Tibbetts, Dr. T. E., 225, 227 
Tibbetts, Tiffany, Mrs. Dexter, 
142 
Tighe, Anna, 294, 296 
Tighe, Elizabeth, 294, 296 
Tiller, William H., 161 
Tilton, Mrs. Charles E., 277 


Tinkham, R. S., 334 
Titcomb, Benjamin M., 186 
Titcomb, John, 22, 97, 186 
Titcomb, Joseph, 186 
Titcomb, Lucy, 276 
Titcomb, Walter John, 463 
Titus, Mrs. Eva, 303, 304 
Tobey, Mrs. Elmer R., 280 
Tobey, Elizabeth, 293 
Todd, J. Frank, 281, 340 
Todd, William F., 159, 161 
Todd, Mrs. William, 147 
Tolan, Edward, 272, 308 
Tolman, Carl Jean, 317, 322, 


403 
Tolman, Charles H., 157, 158, 
159, 160, 253, 254, 272, 464 
Tolman, Thomas F., 118 
Tompkins, J. R., 249 
Tompson, E. F., 224 
Tompson, Frederick A., 118 
11g 
Tompson, Mrs. Frederick A. 


? 


? 


148 

Toothaker, Mrs. Robert A., 
222, 286 

Topliff, Florence, 147 

Torrens, Mrs. H. E., 278 

Torrens, Dr. L. A., 113, 181 
317, 464 

Torrey, Bates, 159 

Torrey, George, 181, 182, 222 


5] 


? 


Torrey, J. G., 181 
Torrey, Mrs. J. G., 181 
Torrey, Mary A., 142, 168 
Tourangeau, J. L., 334 
Tourgee, Eben, 231 
Toussaint, Mrs. O. J., 464 
Tower, Carl Lester, 225, 226, 
263 
Tower, E. Elliot, 224 
Towers, Mrs. C. W., 308 
Towers, Mrs. Daisy, 290, 464 
Towle, Alonzo, 191 
Towle, Blanche, 464 
Towle, Florence, 147, 274 
Towle, Howard, 350 
Towne, Elmer E., 225, 345 
Towne, Mrs. Eva, 321, 464 
Townley, A. H., 101 
Townsend, Miss D. F., 187 
Townsend, John E., 286 
Townsend, Sarah L., 187 


" Tozier, Harry, 225 


Tracy, Alfred H., 255, 256 
258, 464 

Tracy, George Lowell, 291, 313 

Tracy, James M., 183 

Tracy, M. Irene, 464 

Trafton, Edwin, 296, 464 


? 


520 


Trafton, Howard M., 464 

Treat, Mrs. Alice, 181 

Tremblay, Rosario, 296 

Tremblay, Wilfred, 297, 464 

Treworgy, Anne Florence, 464 

Trial ak -277 

Trickey, Edith C., 147, 148, 
465 

Trickey, Mrs. Henry S., 465 

Tripp, Harold S., 260 

Trott, Mrs. Grace L., 298 

Trowbridge, Charles L., 164 

Trowbridge, C. T., 311 

Trowbridge, John, 52, 54 

True, Edward, 185 

True, Mrs. Ella W., 275 

True, Mrs. Ernest, 147 

True, 2 P. W343 

True, Horace, 200 

True, Irving F., 225 

True, Jabez, 119, 120 

True, Mrs. Jabez, 465 

True, Dri. Latham, 119," 225; 
226, 253, 263, 272, 273, 304, 
310, 465 

True, Mrs. Latham, 147, 148, 
262, 273, 465 

True, Mrs. Luella C., 275, 465 

True, Mrs. Maude E., 465 

True, Samuel, 88, 343 

True, William, 186 

True, Willis E., 254, 465 

Trussell, Joseph H., 341 

Tryon, Earl A., 353 

Tuck, Frank L., 281, 339 

Tuck, Mrs. Frank L., 180, 226, 
2'79, 280, 281, 284, 465 

Tucker, Harriet, 52 

Tucker, N. E., 334 

Tucker, Olalie, 465 

Tucker, Ruth, 147, 249 

Tufts, George Royal, 465 

Tufts, John W., 91, 92, 98, 
170, 179 

Tufts, Uriah, 195 

Tukesbury, Mrs. 
189, 190 

Tukey, Beniamin, 87, 157 

Tukey, Fred, 154, 159 

Tupper, Olive, 182 

Turgeon, Mrs. Annie, 293 

Turgeon, Edris, 294 

Turner, Abba, 191 

Turner, Alfred Dudley, 203 

Turner, Mrs, C. P., 224 

Turner, Dorothy, 298 

Turner, Elizabeth, 312 

Turner, George A., 188 

Turner, Gretchen, 290, 465 

Turner, Harry, 120 

Turner, Mrs. Harry, 275 


A. J., 188, 


BIOGRAPHICAL INDEX 


Turner, Inez Perry, 466 
Turner, Mrs. John Hupper, 
147, 263 
Turner, Mrs. O. G., 191 
Turner, Ruth, 147 
Tuttle, Ralph Hodsdon, 297, 
466 
Tuxbury, Alfred C., 191 
Tuxbury, Mrs. A. C., 191 
Tuxbury, Lissa A., 191 
Twigg, Mary E., 147 
Twitchell, George A., 261 
Twitchell, Dr. G. M., 224 
Twitchell, Jane, 78 
Twitchell, Jennie, 123, 261 
Twombley, Archie, 261 
Twombley, W. G., 142, 324, 
326 
Tyler, 
Tyler, 
Tyler, 
334 
Tyler, Rose, 147, 309 
Tyler, Theodore P., 342 


Edwin R., 342 
Col. Joseph, 206, 348 
Joseph, 157, 159, 333, 


U 


Ulmer, Grace, 60 

Ulmer, Judith, 300 
Umphrey, Mary, 304 
Upham, Mrs. Lula P., 226 
Upton, Jessie, 196 

Upton, Nana, 196 
Usher, Charles E., 191 
Usher, Ethel Watson, 466 
Usher, Jane, 164, 262 
Usher, Sarah, 191 


Usher, William H., 326 


V 


Vacchiano, William, 272, 335 
Vail, J. N., 350 

Vaill, Mrs. Luther P., 147 
Valentine, Charles E., 224, 225 
Vallee, Hubert P., 466 

Vallee, Kathleen M., 305, 466 
Valley, Flora, 226 

Vannah, Kate, 312, 466 
Vanner, Lisle B., 297. 
Vanni, Roberto, 466 

Varley, Rev. Arthur, 224 
Varney, Mrs. Charles B., 261 
Varney, Clemetine, 147, 260 
“Varney, Dr. F. L., 224 
Varney, H. M., 334 

Varney, H. W., 334 

Varney, Lindley H., 226 
Varney, Loring, 52. 55 
Varney, Nelson, 136 

Varnum, John, 349 


Varnum, Phineas, 157, 160 
Varnum, Sumner C., 162 
Vaughan, Benjamin, 24, 25 
Vaughan, Charles, 24, 28 
Vaughan, Rebecca, 24 
Vaughan, Sarah M., 24, 25 


Veazie, Mrs. Katherine F., 302, _ 


4 

Veazie, Mrs. Samuel, 300 

Vermette, Alice, 286 

Vermette, Geoffrey, 286, 466 

Verrier, Joseph, 342 

Verrill, Mrs. Harry M., 145, 
157 

Verrill, Lester, 352 

Vickerson, Arthur W., 256 

Viles, Evelyn, 289 

Viles, Olena, 289 

Vinal, Calvin, 354 

Vinal, Ernest L., 466 

Vinal, Grace A., 178 

Vincent, C. T., 291 

Violette, T. H., 223 

Virgie, Belle A., 322, 467 

Vosburg, Lydia, 248 

Vose, Martha, 275 

Vosmus, Clara J., 226 


Ww. 


Waddell, Mrs. E. I., 299 

Waddell, Iva Woodbury, 467 

Waddell, Marjorie, 299 

Wade, Mrs. Mittie T., 224, 
226, 467 

Wade, John Maurice, 335, 467 

Wadsworth, Alexander S., 34 

Wadsworth, Rose, 327 

Wadsworth, Zilphah, 34 

Wagg, Mrs. F. E., 204 

Wage, Mrs. Minnie, 292, 293. 

Wagner, Mme. Cosima, 235 

Wagner, Richard, 134 

Waite, Harry E., 256 

Waite, Henry, 160 

Waite, Laforest A., 348 

Wakefield, Hon. A. G., 179 


Wakefield. Edwin C., 343, 467 


Walden, Mrs. Charles, 193 

Waldron, Grace, 190 | 

Walker, Agnes, 189 

Walker, Archie, 350 

Walker, Mrs. C., 190 

Walker, Mrs. Fred W., 294 — 

babies Mrs. Gladys Rogers, 
29 

Walker, Mrs. Irene, 241 

Walker, Mrs. Jennie, 298 

Walker, Joseph, 324 

Walker, Leon V., 254, 467 

Walker, Marion J., 467 


BIOGRAPHICAL INDEX 


521 


eee 


Walker, Merle L., 286 

Walker, Sophia, 467 

Walker, Walter W., 467 

Wall, Harry T., 254, 286, 334, 
467 

Wallace, Mrs. E. L., 260, 467 

Wallace, Mrs. James G., 147 

Wallace, Jose, 335 

Wallace, Mrs. Maud B., 306 

Wallace, Stanley C., 467 

Walleroff, Louise, 296 

Walsh, A. T., 333 

ee Bishop Louis S., 162, 
103 


Walsh, Margaret E., 297, 298,. 
6 


407 
Walsh, Ruth E. Pettengill, 467 
Walter, Ernest A., 351 
Walton, Berle L., 226 
Walton, Mrs. Edward, 294, 


295 

Walton, Isabel Roberts, 468 

Walton, Joseph B., 52, 54 

Wanig, Elmer, 351 

Ward, Mrs. Abigail, 53 

Ward, Andrew G., 224 

Ward, Benjamin G., 273 

Ward, Ernest J., 335 

Ward, Fred, 272, 335 

Ward, George, 342, 351 

Ward, Helen, 147, 258, 274, 
468 

Ward, Helen McKearney, 468 

Ward, Julius E., 225, 226 

Ward, Mary Belle, 226, 468 

Ward, Mamie, 226 

Ward, Mrs. Winifred, 261 

Wardle, Warren F., 297 

Wardley, Charles J., 224 

Wardwell, O. E., 116, 225, 309 

Ware, Eve E., 468 

Ware, Reginald, 298 

Ware, Sarah E., 142, 148, 151 

Warner, Mrs. R. C., 468 

Warren, Arthur, 255 

Warren, Mrs. Arthur, 146, 226 

Warren, Asa, 79 

Warren, Charles A., 286, 320, 
321, 322, 468 

Warren, Mrs. C. A., 222, 225, 
226, 285, 286, 287, 322, 468 

Warren, Mrs. Ellen R., 468 

Warren, Mrs. Grace D., 224, 
285 

Warren, Juliet Marion Stanley, 
197, 198 

Warren, Leon Hugh, 468 

Warren, Nathaniel, 324 

Warren, Nell, 468 

Warren, Vernard, 354 


Warren, Virginia L., 287, 288 
Wasgatt, Mrs. Annie, 178 
Wasgatt, Mrs. Elizabeth Helen, 
115, 177, 178, 180, 278, 279, 
280, 468 
Wasgatt, E. T., 180 
Wasgatt, James G., 337 
Wasgatt, Dr. Oscar E., 222, 
227, 279, 281, 339, 468 
Washburn, Hon. Israel, 164 
Washburn, Japeth, 29, 30 
Washburn, Marion, 293 
Washburn, Oliver A., 60 
Washburn, Mrs. Sarah J., 189 
Wass, Caroline, 469 
Wass, Dr. Edward Hames, 
225, 264, 276, 286, 314, 318, 
469 
Wasson, Mrs. David, 314 
Wasson, Lois, 147, 261 
Wasson, Martha, 260, 289, 469 
Waterhouse, Abigail, 293 
Waterhouse, Alice, 164 
A ge ag Mrs. Bessie M.., 
30 
Waterhouse, Mrs. Emma S.. 
142, 164, 182 
Waterhouse, Everett, 226, 260, 
469 
Waterhouse, E. Freeman, 164 
Waterhouse, H. T., 161 
Waterhouse, Ruth, 226, 260, 
469 
Waterhouse, Ruth Elva, 469 
Waterhouse, Hon. W. H., 223, 
227, 469 
Waterman, Mrs. Alice, 274 
Waterman, Annie, 187 
Waterman, Edith, 226 
Waterous, Herbert L., 227 
Waters, Cornelius, 111 
Waters, Mary Louisa, 165 
Watson, Eliza, 60 
Watson, Mrs. Elizabeth, 284, 
469 
Watson, Mrs. Fred O., 294 ' 
Watson, George S., 191 
Watson, Helen E., 226, 293, 
294, 295, 298, 469 
Watson, Mrs. Johanna, 327 
Watson, Margaret, 64 
Watson, Murray, 222, 224 
Watson, Willis Elmer, 469 
Watts, Hazelteen, 322, 469 
Watts, James, 120, 154, 159 
Watts, Mary E. C., 469 
Way, Mrs. George, 275 
Weatherbee, J. Q., 207 
Weathersby, Eliza, 200 
Weaver, Mrs. H. L., 191 


Webb, Alber H., 350 

Webb, Annie, 198 

Webb, A. E., 154 

Webb, Bertha S., 147, 160, 164, 
311, 312 


' Webb, Doris Geneva, 322, 469 


Webb, Edna, 147, 148, 262, 
263 
Webb, Edward C., 159, 312, 


342 
Webb, Elizabeth A., 304 
Webb, Emily, 302 
Webb, Mrs. Georgia, 306 
Webb, Rev. Henry W., 224 
Webb, Mrs. Jane M. U., 142 
Webb, John T., 342 
Webb, Mrs. Nathan, 142, 148, 
164, 262 
Webb, Osgood B., 342 
Webb, Mrs. W. D., 184 
Webber, Mrs. Charles C., 294 
Webber, Mrs. C. P., 279, 280 
Webber, Mrs. Grace, 293, 295, 
469 
Webber, Howard, 469 
Webber, Lillian, 147, 150 
Webber, Nellie, 226, 304 
Weber, Carl F. A., 120, 154, 
155, 156 
Weber, Ernest, 344 
Weber, Karl Maria von, 155 
Webster, Caroline, 101 
Webster, Clara E., 147 
Webster, Effie, 223 
Webster, Ellen M., 147 
Webster, George, 223 
Webster, Mrs. George, 177, 
225 
Webster, Col. James W., 60, 
100, IOI, 113 
Webster, Laura, 297, 312 
Webster, Martha, 77 
Webster, Nellie E., 120 
Webster, Pauline, 1o1 
Webster, R. Seymour, 286 
Webster, Mrs. Ralph W., 295 
Wedgewood, Dr. John T., 185 
Weeks, Elizabeth, 77, 261 
Weeks, E. H., 192 
Weeks, George E., 153, 191 
Weeks, Hattie, 120, 164 
Weeks, Joshua F., 52, 54, 117, 
261 
Weeks, Mrs. J. F., 52, 57 
Weeks, Marion R., 147, 148 
Weeks, Norman Everett, 469 
Weeks, William, 261 
Wein, Arthur, 305 
Welch, Earl Hermond, 469 
Welch, Dr. Francis J., 469 
Welch, John P., 120, 156 


522 BIOGRAPHICAL INDEX 


Welch, Mrs. Lauretta, 305 
Welch, Lou, 470 

Welch, Madeline, 261 - 
Welch, Mollie B., 470 
Wellcome, Frank O., 334, 470 
Weller, Mrs. Paul, 470 
Wellman, Mrs. Frank, 295 
Wellman, J. O., 224 

Wellman, Mrs. Mabel, 293 
Wells, Florence Annette, 297, 


470 
Wells, Mrs. George, 142 
Wells, Marian, 193 
Wells, Mrs. Ruth, 306 
Welt, Mrs. Eva T., 293 
Wentworth, Rev. Allison, 470 
Wentworth, Ann, 90 
Wentworth, E. C., 342 
Wentworth, George, 335 
Wentworth, Miss H., 100 
Wentworth, Mrs. Helen P. A., 
302 
Wentworth, Susie, 305 
Wentworth, Thomas J., 200 
Wescott, oat C, Wi 103; 194: 
305, 4 
Wott trraderee A., 322, 470 
Wescott, Mrs. F rederick A., 


470 

Wescott, Pearl Otto, 470 

West, Carrie, 293, 295 

West, Emma, 303 

West, Jessie, 293, 295 

West, J. Houston, 136 

West, John G., 295, 470 

Westgate, plctnor Ernestine, 
470 

Westman, Andrew, 334 

Weston, Alice, 203 

Weston, Clarence, 184 

Weston, C. P., 191 

Weston, Eben, 32, 33 

Weston, I. H., 187 

Weston, Isabel, 280 

Weston, James C., 177 

Weston, Jotham, 184 

Weston, Mary, 280 

Weston, Mrs. Mildred, 
276, 470 

Weston, Orlinda, 184 

Weston, Mrs. William K., 275 

Wetherbee, Mrs. Harriet N., 
120, 121, 125, 142, 143, 144 

Wetherbee, Mrs. Mona, 291 

Wetmore, Mrs. Rosina, 290, 
470 

Wheaton, H. Reta, 287 

Wheeler, Clara Russell, 297 

Wheeler, D. E., 224 

Wheeler, Mrs. Edith, 303, 304, 
470 


226, 


Wheeler, Elliott, 350 

Wheeler, Joseph, 61 

Wheeler, Lyman, 207 

Wheeler, Prince, 203 

Wheelock, Alonzo P., 78, 79, 
100 

Wheelwright, Joel, 326 

Wheelwright, J. S., 179 

Whelpley, Benjamin L., 203, 


471 
Whibley, Mrs. George M., 
260, 261, 263, 471 
Whiddon, William H., 341 
Whipple, Clayton T., 256 
Le Leyland, 471 
s, Asa, 3 
Whiteher, Fred J., 298 
Whitcomb, Charlotte, 226 
Whitcomb, Gertrude, 306 
Whitcomb, Robert L., 336 
White, Arolyn, 147 
White, Mrs. Bessie Alberta, 
290, 471 
White, C. Edwin, 194, 471 
White, Effie May, 471 
White, Elise Fellows, 147, 311, 
313, 314, 471 
White, Elizabeth, 277 


147, 


White, Mrs. Evelyn D., 147, 
149, 262 

White, Fannie, 111 

White, Mrs. Gladys C., 295, 
297, 472 

White, Harry C., 224 

White, H. K., 177, 178 


White, Herbert Leslie, 296, 472 
White, Herman L., 256 
White, James, 60 
White, J. Harvey, 224 
White, James P., 61 
White, Kenneth Vernon, 472 
White, Leland, 350 
White, “Louise Bags 

257, 258, 472 
White, Mary A., ror 
White, Max, 354 
White, Paul Taylor, 203, 472 
White, Raymond P., 340 


256, 


White, Mrs. Ruth, 472 

White, Mrs. Samuel T., 22 
278 

White, Susan, tIo1 

White, William, 255, 258, 472 

White, Mrs. William C., 260, 
274, 473 

Whitehead, John Bailey, 225, 
473 


Wheetosse Beatrice, 226 
Whitehouse, Mrs. Robert Treat, 


147, 263, 473 
Whiting, Harriet Strout, 473 


Whiting, S. K., 198 


Whitman, Barbara, Hunting- — 
ton, 280, 284, 473 
Whitman, Mrs. H. F., 278 a 
Whitmore, Mrs. Elizabeth, 194 — 
Whitmore, Frank C., 224 or, 
Whitmore, Stephen C., 224 
Whitney, Benjamin F., 343 
Whitney, Bryon, 335 
Whitney, Mrs. Caro, 290 
Whitney, H. A., 325 
Whitney, Hezekiah, 185 
Whitney, J., 115, 116 
Whitney, James, 177, 185 
Whitney, Jennie Pierce, 289, 


meee a 
Whitney, John J., 224, 473 


Whitney, Joseph W., 256, 260, 
263, 473 

Tae Mrs. Joseph W., 147, 
203, 

Whites ee Maud, 293 

Whitney, Myron W., 113, 117, 
200, 310 

Whitney, Reginald, 349 

Whitney, S. B., 116, 134 

Whitney, Sewell, 185 

Nor: Susan, 75 WO Fe 


Whittemore, Alfred, 334, 335 
Whittemore, Mrs. Bertha, 1 
Whittemore, Russell A., 203 
Whittemore, Theresa, 275 
Whitten, Mrs. Howard, 193 
Whitten, Prof. Jeremiah, 315 
Whitter, Cyrus, 348 
Whittier, A. W., 334 
Whittier, Mrs. Charles, 278 
Whittier, Mrs. Henry, 196 
Whittier, John G., 6, 50, 126 
Whittier, Sarah E., 61 
Whittier, Mary Talbot, 473 
Whittin, Mrs. Mary T., 197. 
Whittredge, Mrs. Anne Eliza- 
beth, 474 a 
Wichtendahl, Mrs., 177 
Wiggin, Mrs. Charles, 474 B. 
Wiggin, Mrs. D. W., 190, 295 
Wiggin, Hannah, 179 
Wiggin, Josephine M., 222, 227, 
278, 280, 474 
Wiggin, Miranda, 181 
Wight, Austin Jenness, 474 
Wight, Mrs. Emma E., 301 
Wight, Evelyn, 303 
Wight, Dr. I. Henry, 224 
Wight, James, 203, 346 4 
Wight, Mrs. James, 181, 222, 
226, 300, 474 a 
Wight, Mae, 304 
Wight, Winfield Scott, 474 


BIOGRAPHICAL INDEX 


Wignot, Richard G., 286 
Wilbur, Mrs. Minnie, 474 
Wilcox, John Wesley, 474 
Wild, Rev. E. W., 289 

Wilde, Edwin Ernest, 474 
Wilder, Gerald G., 286 
Wilder, Katherin E. Brier, 474 
Wilder, Margaret V., 147 
Wilder, Solon, 116, 176, 183 
Wilder, Mrs. Victoria, 304 
Wiley, Dora, 114, 115, 178, 180 
Wiley, Rev. G. R., 224 
Wiley, Kenneth, 303 
Wilkenson, John, 303 

Wilkins, oe Franklin H., 145, 


263, 4 
Wilkinson” Mrs. Edward, 184 
Wilks, Ronald D., 286, 474 


Willard, Capt. 


173 
Willard, E. A., 298 
Willard, Mrs. L. E., 146 
Willen, P. J., 159 
Willett, Mrs. John, 299 
Willey, Anna C., 147, 263, 311 
Willey, P. J., 331, 332 
Williams, Abigail, 52 sa 
Williams, Bertha E., 306, 474 
Williams, Caroline, 261 
Williams, Mrs. Dana S., 
Williams, F. S., 334 
Williams, Harry B475 
Williams, Mrs. Helen, 305 
Williams, Herbert E., 224, 285 
Williams, H. L., 225 
Williams, Mrs. Junita, 293 
Williams, J. C., 89 
Williams, Mrs. J. S., 224 
Williams, Lee, 354 
Williams, Marguerite, 286 
Williams, Mazie, 273 , 
Williams, Myra, 147 
Williams, Mrs. Sidney, 146 
Williams, Col. Timothy, 102 
Willis, Eleanor, 149, 475 
Williston, Mrs. Marion Spra- 
gue, 264, 475 
Williston, Mrs. B. P., 280 
Wilson, Mrs. Bernice, 303, 304 
Wilson, Rev. David L., 224 
Wilson, Mrs. Edgar K., 146 
Wilson, Mrs. Eleanor, 290 
Wilson, Mrs. Ellen E., 226 
Wilson, George T., 340 
Wilson, Mrs. Harry E., 146 
Wilson, Hazel Deborah, 475 
Wilson, Irving, 195 
Wilson, Kate E., 263 
Wilson, L. H., 334 
Wilson, Margaret, 147, 261 
Wilson, Ralph, 259 


Benjamin ime 


475 
Wiswell, Hovey M., 


Wilson, Raymond, 335 
Wilson, Ruth, 253 
Wilson, Mrs. Shirley, 293 
Wilson, Mrs. Virgie, 303 
Wilson, Mrs. William, 64 
Wilson, William E., 343 
Winant, Emily, 190 
Winch Jo FF. F314 
Wineh AW. J 114 
Winchell, Mrs. John, 194 
Winchell, Mrs. Sue, 147 


- Winchenbaugh. Virginia, 302 


Winchester, John Howard, 475 
Winfield, Madeline, 475 
Wing, Carrie, 198 
Wing, Charles Augustus, 
198 
Wing, Mrs. Grace A., 313 
Wing, Harriet, 292 
Wing, Roswell A., 475 
Wing, Sarah, 197. 198 
Wingate, E. R., 225, 475 
Wingate, Frank T3207 
Winn, Gladys, 272, 475 
Winship, Mrs. John O., 
pers ad. 
Winslow, Allen, 297 
Winslow, Burton H.,.188 
Winslow, H. E., 298 
Winslow, Helen M., 226, 
293, 295, 297, 475 
Winslow, Lucella M., 184 
Winslow, M. Olive, 224 
Winslow, Maud, 292 
Winslow, Newell, 184, 351 
Winslow, Ralph, 298 
Winslow, Warren E., 353 
Winther, Christian, 352 
Wiseman, Anne, 295 
Wiswell, Andrew M., 345, 475 
Wiswell, Frank, 196 
Wiswell, Harry S., 196, 345, 


197, 


223. 


292, 


196, 345, 


475 
Wiswell, John, 349 
Wiswell, Julia, 196 
Wiswell, Sarah C., 345 
Wiswell, Thomas, 196 
Witcher, Dora, 190 
Witham, Burton B., 476 
Witham, Mrs. Celia Smart, 275, 


47 
Witham, Merle, 347 
Withington, D. B., 342 
Wittridge, Annie W., 227 
Wolfenberger, Lillian, 147, 318 
Wood, Alice, 147, 148, 161, 
263, 476 
Wood, Allen E., 277, 476 
Wood, Mrs. Alta, 303 


523 


Wood, B. F., 188, 
291 

Wood, Mrs. Charles D., 300 

Wood, Elsa, 284 

Wood, Georgie E., 188, 189 

Wood, Mrs. Gorham, 279 

Wood, G. W., 334 

Wood, Mrs. Henry, 145 

Wood, Mrs. H. E., 189 

Wood, H., 191 

Wood, Llewellyn, 181 

Wood, Mattie, 293 

Wood, M. C., 261 

Wood, S. D., 188 

Wood, Sarah, 64 

Wood, Thomas, 342 

Wood, William H., 66, 261 

Woodard, Edith, 295, 476 

Woodard, Lula G., 476 

Woodbury, Anna W., 142, 148 

Woodbury, Belle Bartlett, 190 

Woodbury, Bernice A. , 287, 288 

Woodbury, Mrs. Clifford, 146 

Woodbury, Ethel A., 147 

Woodbury, Florian, 147 

Woodbury, Hazel, 295, 476 

Woodbury, I. B., 107 

Woodbury, J. B., 116 

Woodbury, John, 254, 334 

Woodbury, J. W., 263 

Woodbury, Mrs. Leonard, 145 

Woodbury, Virginia, 295, 476 

Woodman, Albert S., 120, 222, 
224 

Woodman, Mrs. Albert S., 274, 


275 
Woodman, Charles G., 225 
Woodman, Earl, 255, 476 
Woodman, Ethel M., 285 
Woodman, Marvenus, 350 
Woodman, R. Huntington, 267 
Woodruff, F. E., 224 
ogy Mrs. Georgiana P. B., 
18 
peed Harvey J., 281, 


47 
Woods, John F., 186 
Woodside, Mrs. Calvin, 145 
Woodside, Elmer A., 334, 476 
Woodside, Mrs. J., 190 
Woodside, Mrs. M. K., 249 
Woodsum, Catherine, 476 
Woodward, Mrs. Flora C., 
304 
Woodward, Harold, 350 
Woodward, Mrs. Louis P., 289 
Woodworth, Mrs. Flora C., 287, 
304. 
Woodworth, Orrie, 477 
Woolfe, Elizabeth M., 477 
Worden, Mrs. Harry, 477 


189, 190, 


339, 


287, 


524 


Wormwell, Munroe, 347 
Wormwood, Mrs. T. P.., 
Wray, Arline, 284, 477 
Wray, Estelle, 284, 477 
Wrenn, Victor Steven, 477 

Wright, Mrs. Althea C., 260, 


Weicht, Rev. Blanche A., 224 

Wright, Clinton, 349 

Wright, Mrs. J. S., 225 

Wright, John, 303 

Wright, Ray, 350 

Wright, Thomas, 78, 87, 157 

Wyer, Charles E., 256, 258, 
259, 273, 306, 307 

Wyer, Gladys, 305 

Wyer, Hazel, 305 

Wyman, A. F., 352 

Wyman, Abby R., 186 

Wyman, Augustine, 184 

Wyman, Mrs. Augustine, 184 

Wyman, C. M., 116, 181 


278 


BIOGRAPHICAL INDEX 


Wyman, Elwood T., 304 
Wyman, Henry, 343 
Wyman, Jane S., 477 
Wyman, Minnie, 298 
Wyman, Nellie, 190 


x 


Yeaton, Charles W., 224, 340 


Yeaton, Pauline, 295 

Yenco, John, 286 

Yetten, Vienna A, 348 

York, Isabel, 260, 477 

York, Mrs. O. A., 477 

Yorke, Clarence Sherman, 477 


Yorke, Mrs. Clementine J., 
288 
Yorke, Helen Sherman, 147, 


227, 248, 477 
Yorke, Marcia Evelyn, 477 
Young, Albert H., 350 


Young, Beulah Gaylord, 248 
Young, C. C., 187 4 
Young, Charles G,, 78, 432° q 
Young, Della Briggs, 292, 293, | 
295, 477 a f 
Young, Francis H., 185 © 
Young, Frank M., 345 ae 


Young, George ‘Washington, | 
239 - 

Young, Mrs. Helen M., 189 4 

Young, John O., 337 pe a 


Young, Mrs. L. D., 288 A 
Young, Maynard A. 256, a7 


335 a 
Young, Mrs, Rudgar, ie: a 


s ; - :. 

Zenner, C. H., 31 ae 
Zerrhan, Carl, 104, 113, 116, 
181, 190, 195 4a 
4 


or aes 
ie Coed 


ae 
te - 


oe 


Bes Sg a 
, we e 
ce. 


MEE 


a 
a 
cei 


— ea 
ry Oe aw 


A 


Abbott, 40 

Acadie, N. S., 5 

Acton, 412 

Addison, 387 

Albany, N. Y., 211, 453 

Allston, Mass., 435 

Alma, N. B., 461 

Alton, IIl., 433 

Amherst, Mass., 35 

Amherst, N. S., 380 

Andover, Mass., 40 

Annapolis, Md., 389 

Anson, 29, 32, 200 

Appleton, 413 

Armenia, 361 

Ashland, 419 

Ashland, Mass., 412 

Athens, 390, 474 

Athol, Mass., 459 

Attleboro, Mass., 65, 109 

Auburn, 89, 97, 187, 188, 191, 
290 to 298, 300, 313, 314, 
317, 319, 321, 329, 340, 344, 
345, 357, 362, 364, 367, 369, 
372, 375, 376, 377, 378, 379, 
382, 386, 388, 390, 391, 392, 
395, 398, 403, 405, 409, 418, 
420, 421, 422, 423, 425, 426, 
430, 432, 437, 438, 439, 440, 
442, 443, 451, 452, 458, 460, 
461, 462, 464, 466, 469, 470, 
472, 476, 477 

Augusta, 5, 22, 28, 90, 100, 
172, 173, 204, 275 to 277, 
310, 317, 318, 329, 354, 356, 
360, 361, 364, 367, 369, 374, 
376, 377, 378, 379, 384, 386, 
393, 394, 396, 400, 401, 404, 
405, 406, 407, 415, 416, 417, 
421, 426, 429, 431, 433, 435, 
436, 437, 440, 445, 448, 449, 
453, 459, 460, 468, 469, 473, 


476, 477 
Auriesville, N. Y., 427 


B 


Baldwin, 470 

Baltimore, Md., 72, 82, 85 

Bangor, 23, 28, 35, 38, 90, 91, 
92, 93, 94, 95, 96, 98, 99, 
113 to 116, 172, 173, 176 to 
760, 183, 192, 193, 200, 203, 
mag 245, 283, 261, 277 to 


GEOGRAPHICAL INDEX 


Bangor — Continued 
284, 300, 309, 317, 318, 321, 
326, 337, 338, 339, 340, 348, 
355, 356, 357, 362, 363, 365, 
366, 368, 373, 377, 378, 381, 
383, 385, 386, 387, 388, 389, 
390, 391, 392, 393, 394, 396, 
397, 398, 402, 403, 404, 405, 
406, 407, 408, 409, 410, 412, 
413, 414, 417, 419, 420, 421, 
427, 428, 429, 430, 432, 433, 
435, 437, 438, 439, 440, 443, 
444, 445, 448, 449, 450, 454, 
455, 457, 458, 460, 462, 463, 
464, 465, 467, 468, 469, 471, 
472, 473, 474, 475, 476, 477 

Bar Harbor, 354, 366, 400, 420, 
470 

bath, 420) 20. 36> 48.61, (87, 
89, 90, 100, 103, 113, 180, 
194, 202, 211, 245, 285, 327, 
328, 359, 366, 372, 374, 378, 
380, 385, 388, 396, 400, 411, 
420, 423, 426, 428, 429, 432, 
440, 442, 445, 451, 456, 463 

Bath, N. Y., 344, 376 

Beachmont, Mass., 462 

Belfast, 60, 61, 100, I0I, 193, 
194, 305, 315, 316, 317, 321, 
337, 341, 349, 364, 384, 394, 
395, 399, 421, 428, 437, 438, 
440, 448, 459, 470, 474 

Belgrade, 403, 459 

Bellows Falls, Vt., 436 

Benson, Vt., 364 

Bergenfield, N. J., 469 

Bernardston, Mass., 107 

Berwick, 400 


* Bethel, 341, 374, 396, 413, 439, 


461, 474, 477 
Bethlehem, Pa., 76 
Beverly, Mass., 297 
Biddeford, 35, 53, 62, 191, 193, 
211, 252, 328, 341, 358, 364, 
373, 379, 381, 390, 401, 413, 
417, 418, 419, 420, 439, 442, 
443, 447, 451, 452, 455, 470 
Binghamton, N. Y., 423 
Birkenhead, England, 378 
Birmingham, England, 364 
Bloomfield, 33, 100 
Bloomington, IIl., 99, 432 
Blue Hill, 38, 41, 305 
Boise City, Idaho, 340 
Boothbay Harbor, 354, 
395, 419 


525 


364, 


Boston, Mass., 5, 13, 14, 22, 
23, 29, 31, 39, 42, 44, 50, 53, 
54, 57, 61, 65, 76, 80, 84, 87, 
89, 90, 91, 92, 93, 94, 100, 
103, 104, 105, 107, 108, £IO; 
Rae 113, 121, 123, 124, 126, 
127,128 40.132, 136, 164, 
105, 167, 173,174, 175,, 179, 
182, 186, 188, 190, 191, 194, 
195, 198, 199, 200, 201, 202, 
207, 209, 215, 217, PSR GI IR 
240, 247, 297, 310, 316, 323, 
330, 331, 340, 341, 343, 345, 
346, 357, 363, 364, 366, 369, 
370, 376, 394, 410, 420, 425, 
426, 427, 442, 445, 446, 451, 
455, 456, 457, 464, 467, 471, 


472, 474, 475 
Braintree, Mass., 12 


Brandon, Vt., 476 

Brewer, 396, 400, 409, 411, 419, 
424, 432, 452, 472 

Brewster, Mass., o7T 

Bridgewater, 60 

Bridgton, 90, 199, 248, 249, 253, 
oe 306, 309, 342, ue 371, 
398, 410, 443, 449, 0 

Ee Mass. aes oe ee 


Brookfield, Conn., 367 

Brooklyn, N. Y., 216, 249, 359, 
399, 401, 431, 437 

Brooks, 410 

Brownfield, 356, 459 

Brownville, 380, 433, 465 

Brunswick, 13, 26, 27, 36, 39, 
60, 62, 65, 88, 111, 168, 285, 
286, 287, 314, 318, 419, 320, 
327, 328, 342, 362, 366, 369, 
370, 372, 373, 375, 380, pie 
388, 395, 397, 410, 413, 4 
422, 429, 440, 457, 466, 168, 
469, 474, 476 

Ris Pond, 341 

Buckfield, 200, 378, 411, 426, 


427 
Bucksport, 116, 203, 354, 376 
378, 408, 438, 453 
Buffalo, N. Y., 211, 249, 344 
Buxton, 363, "406 


? 


C 


Calais, 309, 354, 358, 359, 363, 
385, 389, 390, 403, 404, 407, 
424, 474 


526 


Cambridge, Mass., 124, 164, 
175, 186, 328, 392, 427, 470 

Camden, 91, 301, 311, 343, 
354, 394, 405, 414, 418, 426, 
445, 458, 461, 463 

Canaan, 32, 33 

Canada, 373 

Canton, 470 

Capac, Mich., 407 

Cape Cod, Mass., 122 

Cape Cottage, 356 

Cape Elizabeth, 337, 342, 371, 
395, 397, 421, 436, 437 

Caribou, 287, 299, 367, 405; 
407, 415, 436, 440, 449 

Carmel, 381, 412 

Carthage, 309, 454, 457 

Carthage, Missouri, 453 

Casco, 6, 7 

Castine, 5, 330, 361, 418, 424, 
432, 442 

Charleston, 348, 357, 380, 444 

Charlestown, Mass., 195 

Chatham, N. J., 474 

Chelmsford, Mass., 96 

Chelsea, Mass., 53, 54, 387; 


AIl 

Cherryfield, 311, 343, 375, 467, 
469, 475 

Chester, Pa., 249 

Chesterville, 97, 392 

Chicago, Ill; 76, 954.96, 172; 
185, 212, 247, 279, 320, 426 

Chicopee, Mass., 419 

China, 30, 35, 89, 366, 461 

Chisholm, 446 

Christiania, Norway, 365 

Cincinnati, Ohio, 104, 212, 213 

Cleveland, Ohio, 389, 445 

Cliftondale, Mass., 431 

Clinton, 385, 410 

Coaticooke, P. Q., 363 

Cohansie, N. J., 17 

Columbus, Ohio, 201 

Concord, N. H., 189 

Concord, Mass., 32 

Corinna, 382, 475 

Corinth, 93, 197, 435 

Cornish, 185, 186,252. 287, 
379, 411, 469 

Cornville, 32, 390 

Cousinoc, 5 

Cumberland, 20, 61, 68, 88, 96, 
185, 343, 351, 429, 450 

Cumberland County, 38, 39 

Cumberland Foreside, 309 

Cumberland Mills, 352, 414, 
462 


GEOGRAPHICAL INDEX 


D 


Dallas, Texas, 320, 321 
Damariscotta, 102, 180, 181, 
_ 184, 343, 374, 397, 402, 407, 


437, 442 
Dana Point, 5 


Danbury, Conn., 454 

Danforth, 354, 394, 423 

Danville, 357, 452, 458 

Danville, Quebec, 381 

Dark Harbor, 418 

Dartmouth, N. S., 474 

Deal, N. J., 241 

Deering, 449, 459 

Detroit, Mich., 321, 460 

Dexter, 93, 99, 353, 354, 362, 
372, 383, 384, 446, 452, 454, 


45 
Dixfield, 110, 198, 200, 346 to 
348, 385, 408, 454, 457 
Dorchester, Mass., 42, 53, 172, 


437 
Doucet’s Island, 4 


Dover-Foxcroft, 185, 353, 357, 


363, 372, 373, 391, 395, 410, 


416, 433, 444, 469 
Dover, N. 


» 54 
Duluth, Minn., 376 
Dunstan, 334 
Durham, 185, 206, 348, 430 
Durham, N. H., 55 
Dyer Brook, 422 


E 


East Auburn, 439 

Eastbrook, 430, 474 

East Corinth, 197, 348, 349, 
357, 358, 407, 435 
ast Livermore, 377 

East Machias, 18, 195, 196, 197, 
349, 385, 389, 420, 448, 460, 
461, 473, 474, 475 

East Millinocket, 370, 464 

Eastport, 3, 31, 354, 356, 375, 
380, 396, 427, 438, 470 

East Providence, R. I., 430 

East Winthrop, 198, 405 

Edgartown, Mass., 228 

Ellicottville, N. Y., 249 

Ellsworth, 309, 349, 363, 379, 
380, 382, 383, 388, 390, 399, 
405, 408, 433, 447, 467, 473, 
474 

Emmettsburg, Md., 312 

Enfield, Mass., 96 

Evansville, Ind., 453 

Everett, Mass., 341, 418, 471 

Exeter, N. H., 30, 349 


. F 
Fairfield, 251, 371, 383, 39399m 
404, 435, 436 a 
Falkland Islands, 370 
Fall River, Mass., 396, 463 4 
Falmouth, 12, 78, 160, 185, 
349, 397, 413, 429, 436, 452, — 
461 a, 
Falmouth Corner, 160 


Falmouth Foreside, 322, 365, _ 


373, 376, 390, 428, 432, 444, — 
473 an 

Farmingdale, 373 ; 

Farmington, 20, 22, 90, 91, 97, 
100, 186, 206, 229, 230, 241, 
242, 349, 368, 385, 410, 430, 
431, 448, 456, 463, 467, 

Fayette, 443, 460 

Fitchburg, Mass., 364 

Five Islands, 423 

Flint, Mich., 368 

Florida, 310 


Fort Fairfield, 288, 299, 369, 


381, 394, 395, 401, 413, 415, 
419, 438, 452 | 
Fort Preble, 367 
Fort Williams, 337 
Foxcroft, 390 
Franklin, 388 
Franklin County, 91 
Fredericton, N. B., 411, 468 


Fredericton Junction, N.B.,370 


Freedom, 315 
Freemont, N. C., 361 : 
Freeport, 60, 90, 245, 320, 361, 
363, 423, 459 = 
Frenchboro, 358 
Friendship, 20 i 
Fryeburg, 23, 34, 35, 249, 288, 
410, 422, 445 A 


G 


Gaines, Pa., 361 

Galeton, Pa., 464 

Galion, Ohio, 368 . 

Gardiner, 24, 31, 35, 89, 90,° 3 
103, 107, 168, 199, 261, 312, 
382, 399, 401, 403, 405, 407, 4 
431, 436, 438, 443, 466, 475 

Garland, 349, 451 ; 

Georgetown, 364 

Gettysburg, Pa., 101 

Gilead, 474 

Gilford, Conn., 35 

Glencove, 366 


Gorham, 35, 36, 59, 80, 88, 
103, III, 164, 165, 186, 187, 
209, 251, 219, 288,289, 310, 
323, 351, 356, 358, 363, 372, 
375, 380, 400, 412, 421, 427, 
436, 450, 460, 461, 466, 472 

Gouldsboro, 365 

Gray, 88, 185, 351, 
406, 418, 458 

Greene, 34, 383, 406 

Greenfield, Mass., 107 

Greenville, 362 

Guilford, 261, 


389, 449 


383, 401, 


354, 384, 385, 


H 


Halifax; P. Q., 1 

Halifax, England, 459 

Hallowell, 20, 22, 24, 25, 26, 
27, 28, 29, 31, 32, 35, 39, 66, 
67, 88, 89, 92, 327, 330, 360, 
364, 369, 374, 394, 396, 405, 
446, 454 

Hampden, 94, 383, 394, 
405, 406, 437 - 

Hampton, Virginia, 344 

Hancock, 420 

Hancock County, 5, 38 

Hanover, 29, 409 

Hanover, Mass., 34, 374 

Hanover, N. H., 35 

Harmony, 354, 359, 438 

Harpswell, 403 

Harrison, 118, 
404, 463, 467 

Hartford, 411 

Hartford, Conn., 
309, 380 

Hartland, 473 

Harvard, Mass., 

Haverhill, Mass., aes 

Hebron, 378 

Hillsdale, Mich., 375 

Hodgdon, 458 

Hollis, 68, 370 

Hollis, N. H 

Hollywood, Cal., 309, 397 

Holy Cross Island, 4 

Holyoke, Mass., 432 

Hope, 89 

Hot Springs, Ark., 456 

Houlton, 289, 290, 299, 354, 
356, 358, 361, 362, 366, 369, 
370, 373, 374, 376, 379, 381, 
82, 383, 387, 388, 391, 399, 
403, 407, 409, 410, 411, 422, 
425, 427, 428, 429, 436, 438, 
445, 446, 458, 461, 464, 465, 
470, 471 


395, 


119, 362, 367, 


29, 94, 266, 


GEOGRAPHICAL INDEX 


Howland, 477 
Hudson, 349 


I 


Indianapolis, Ind., 239 

Indian Hills, Col., 422 
Industry, 97 

Island Falls, 321 

Island Pond, Vt., 398, 416, 466 
Islesboro, 381, 431 

Isles of Shoals, N. H., 133 


Jackson, 116 
Jamaica Plain, Mass., 
Jay, 368 

Jefferson, 202, 414 
Jemptland, Sweden, 433 
Jersey City, N. J., 381, 404 
Jonesboro, 399 

Jonesport, 407, 434 


366, 468 


K 


Keene, N. H., 115 
Kenduskeag, 23, 349, 355, 412 
Kennebec County, 38, 39, 88 
Kennebunk, 7; 34, 40, 41, 49, 
67, 261, 306, 323, 334, 351, 
354, 357, 361, 370, 371, 379, 


390, 400, 416, 459, 469 
Kennebunkport, 378, 475 


Kent’s Hill, 317, 403 
Kezar Falls, 249, 389, 431, 440 


Kingfield, 395, 459 
Kingsburg, Cal., 371 


L 


Lake Maranacook, 352 

Lakeview, Ontario, Can., 375 

Lamoine, 379 

Lancaster, N. H., 387 

Lawrencetown, N. S., 433 

Lawton, Oklahoma, 421 

Leadville, Col., 445 

Lee, 465 

Leeds, 417, 467 

Leominster, Mass., 423 

Lewiston, 89, 90, 111, 168, 187 
to 191, 200, 279, -as3e"261; 
291 to 298, 300, 309, 316, 317, 
318, 321, 326, 343, 344, 345, 
359, 360, 361, 362, 363, 364, 


527 


Lewiston — Continued 
368, 369, 372, 373, 376, 377, 
378, 379, 380, 381, 382, 383, 
385, 386, 388, 389, 391, 393, 
394, 395, 396, 397, 398, 399, 
400, 405, 406, 407, 408, 409, 
4II, 412, 413, 416, 417, 418, 
419, 420, 422, 423, 430, 431, 
432, 433, 435, 436, 437, 439, 
440, 443, 444, 445, 446, 447, 
448, 451, 454, 455, 456, 457, 
459, 460, 464, 465, 466, 468, 
470, 475, 476 

Lexington, Ky., 364 

Liberty, 410 

Limerick, 249, 387 

Limestone, 427, 429 

Limington, 249 

Lincoln, 3, 20, 298, 354, 368, 
371, 397, 420, 421, 433, 440 

Lincoln County, 38 

Lincolnville, 403 

Linneus, 460 

Lisbon, 386 

Lisbon, N. H., 396 

Liskova, Russia, 377 

Litchfield, 201, 457 

Littleton, 299, 373 

Livermore Falls, 89, 198, 199, 
345, 254, 363, 364, 368, 375, 
384, 389, 392, 400, 403, 409, 
418, 423, 442, 460, 475, 476 

London, England, 164, 172, 
176, 183, 191, 209, 234, 236, 
239, 245, 247, 317, 409, 442 

Los Angeles, Calif., 310, 398, 
408, 449, 453 

Louisville, Ky., 104 

Lowell, Mass., 300, 331, 388, 
434. 

Lunenberg, Mass., 32 

Luxulyan, Cornwall, 
389 

Lynn, Mass., 


England, 


328, 392 


M 


Machias, 15, 19, 345, 356, 360, 
388, 393, 421, 451, 458, 461, 
470 

Machiasport, 461 

Mackville, 38 

Madison, 345, 375, 385, 444, 


477 
Malden, Mass., 366, 404, 421 
Malone, N. Y., 385 
Manchester, N. He 

398 


365, 391, 


528 


GEOGRAPHICAL INDEX 


ee 


Manetta, ik 249 

Mapleton, 460 

Marshfield Hills, Mass., 388 

Martha’s Vineyard, Mass., 228 
229 

Matinicus Isle, 354 

Maynard, Mass., 422 

Mechanic Falls, 355, 367, 378; 
387, 409, 417, 476 

Medfield, Mass., 359 

Melrose, Mass., 362, 392, 465 

Meriden, Conn., 399 

Merrimac, N. H., 331 

Mexico, 426 

Middlesex, Mass., 96 

Milbridge, 419, 445, 449 

Milburn, N. J., 373 

Milford, 179, 445 

Millinocket, 298, 345, 354, 372: 
391, 393, 407; 411, 419, 424, 
432, 457 

Milltown, 425 

Millville, N. B., 366, 403, 412 

Milo, 93, 354, 355, 364, 371, 
374, 384, 385, 396, 403, 428, 


439 

Milton, 461 

Milwaukee, Wis., 399 

Minneapolis, Minn., 178, 179, 
189, 455, 464 

Minot, 29, 200, 309, 374, 425 

Monmouth, 29, 165, 309, 362, 
377, 469 

Monroe, 435 

Monson, 354 

Montreal, Canada, 385 

Morgantown, W. Va., 370 

Mountain, 32 

Mt. Desert, 4, 438 

Mt. Kearsarge, 249 

Mt. Vernon, 328, 387 

Muncie, Ind., 435 


N 


Nantucket, Mass., 229 

Naples, 359 

Narantsouac, 5 

Nashua, N. H., 331 

Natick, Mass., 380 

Newark, N. J., 15, 54, 416 

New Bedford, Mass., 58, 367, 
409, 424, 444, 448 

Newburgh, 444 

Newburyport, Mass., 472 

New Durham, 29 

New Gloucester, 62, 80, 88, 
185, 324, 351, 374, 379 


New London, Conn., 183, 192, 


309 

Newmarket, N. H., 452 

Newport, 354, 404, 420 

New Rochelle, N. Y., 416 

New Sharon, 20, 97, 99, 199, 
436, 477 ; 

New Smyrna, Florida, 452 

Newtown, N. Y., 18 

New Vineyard, 371 

New York, N. Y., 76, 84, 85, 
94, 95, 104, 108, 164, 174, 
192, 195, 200, 202, 209, 210, 
211, 214, 217, 219, 235, 249, 
327, 350, 359, 362, 379, 388, 
399, 400, 402, 405, 408, 416, 
428, 430, 432, 439, 450, 460, 
464, 465, 466, 467, 477 

Nixon, N. B., 361 

Norfolk, Va., 85 

Norridgewalk, 5, 6, 7, 32 

North Anson, 89, 99 

North East Harbor, 445 

Northfield, Minn., 372 

North Haven, 361, 459, 477 

North Lee, 453 

North Lovell, 397 

North Parsonsfield, 422 

North Turner, 361 

North Waterford, 449 _ 

North Yarmouth, 29, 34, 35, 
88, 428 

Norwalk, Conn., 217, 219 

Norway, 35, 68, 110, 160, 161, 
345, 358, 374, 382, 388, 389, 
394, 404, 405, 408, 409, 415, 
423 

Norway Lake, 457 

Norwich, Conn., 406 

Norwood, Mass., 401, 470 

Nottingham, N. H., 413 


O 


Oakfield, 407 

Oakland, 361, 419 

Oakland, Cal., 399, 415, 439 

Ogunquit, 387, 453 

Old Lyme, Conn., 183 

Old Town, 357, 364, 398, 400, 
417, 418, 419, 434, 435, 440, 


444, 447, 462, 469 
Onslow, N. S., 15, 18 


Orland, 477 

Orono, 93, 363, 381, 389, 412, 
421, 424, 429, 436, 455, 467 

Orrington, 32 

Orr’s Island, 462 


Ossining, N. Y., 242 
Ossipee Valley, 185 
Otisfield, 68, 118 
Oxford, 20, 203 
Oxford County, 110 


be 


Paisley, Scotland, 359 
Palmyra, 354 
Palo Alto, Cal., 465 


Paris, 246, 247, 341, 432, 451, q 


452 ee 


Paris, France, 233, 234, 245; % a 


247, 389, 455 
arkman, 390 


Parsonsfield, §, 107, 186, 434 
Pasadena, Cal., 399 
Patansbyn, Sweden, 455 


Paterson, N. J., 424 


es 309, 354, 374, 417,436, 


467 

Pawtucket, R. I., 376 
Peaks Island, 392, 442 
Pembroke, 396 
Penawamiska, § 
Penobscot, 464 
Pentagoet, 5 
Petersburg, Ill., 386 


Philadelphia, Pa., 16, 17, 25, 4 


84, 103, 104, 126, 211, 216, 
257, 376, 383, 399, 444 
Phillips, 90, 203 
Piscataquis Co., 40 a 
Pittsfield, 345, 349, 378, 395, 
396, 398, 401, 410, 425, 446, 
452, 455, 463 | 
Pittston, 90, 458, 469 
Pleasant Point, 5, 421 
Plymouth, 375, 463 
Pocassett Lake, 205 


Poland, 68, 88, 200, 202, 234, 3 4 


417 

Poland, Russia, 416 

Portland, 12, 29, 31, 34, 35, 37, 
38, 39, 41, 42, 57, 59, 60, 62, 


66, 67, 69 to 88, 90, 92, 96, : 4 


97, 100, 102, I10, III, 113 


to 126, 140 to 186, 187, 189, " 
191, 194, 195, 199, 202, 203, 


211, 219, 220, '239, 240, °245, 0m 
247, 251, 253 to 268, 292, 


300, 311, 312, 313, 314, 317, 
318, 323, 324, 325, 326, 327, . 
328, 329, 330, 332, 334, 335, 


336, 348, 350, 355 to 448, 
450 to 455, 457 to 477 | 


Portland, Ore., 433 

Portsmouth, N. H., 85, 455 

‘Pownal, 68 

Pownal Center, 185 

Presque Isle, 298, 354, 356, 
358, 363, 373, 388, 389, 413, 
415, 424, 448, 452, 467 
rospect, 440 

Prospect Harbor, 431 

Prouts Neck, 328 

Providence, R. I., 176, 249, 
474 

Putnam, Conn., 474 


Q 


Quebec, P. Q., 5, 6 
Queensbury, N. B., 409 . 
Quincy, Mass., 257, 303, 400 


R 


Ramsgate, England, 367 

Randolph, 396 

Rangeley, 388, 443 

Readfield, 20, 65, 317, 424, 
429, 438, 458 

Reading, Pa., 454 _ 

Richford, N. Y., 403 

Richford, Vt., 424 

Richmond, 390, 392, 405, 409, 
431, 445, 458, 471 3 

Richmond, N. B., 401 

Richmond, Va., 85 

Rochester, NN. Y., 211, 249, 
356, 382, 388 

Rockland, 24, 35, 65, 101, 102, 
1042180, IBI, 182; 203, 299, 
303, 345, 346, 356, 357, 359, 
361, 362, 365, 369, 370, 379, 
380, 381, 383, 386, 387, 393, 
395, 396, 401, 403, 404, 405, 
409, 412, 413, 415, 416, 417, 
418, 423, 425, 428, 430, 432, 
434, 437, 449, 450, 455, 456, 
458, 466 

Rollinsford, N. H., 433 

Roxbury, Mass., 375 

Rumford, 261, 350, 355, 357, 
360, 366, 377, 384, 395, 398, 
All, 416, 419, 424, 427, 428, 
429, 431, 433, 446, 451, 459, 
460, 462, 463, 464, 469, 472, 


_ 474 
Rutherglen, Scotland, 371 


GEOGRAPHICAL INDEX 


S 


Sabattus, 89, 389, 452 

Baco, 12,614," 28,. $3, 62, 191; 
193, 211, 251, 261, 313, 328, 
331, 338, 348, 373, 383, 392, 
397, 400, 406, 421, 442, 445, 


450, 454, 462, 469, 470 
Sacramento, Cal., 168, 416 


Sagadahoc, 8 

Saint Sauveur, 4 

Salem, Mass., 107, 344, 394 

Salmon Falls, 6 

Sandwich, Mass., 170 

Sandy River Township, 22 

Sanford, 26, 303, 334, 350, 366, 
377, 396, 400, 401, 409, 418, 
430, 433, 434, 437, 444, 447, 
459 

San Francisco, Calif., 87, 273 

Sangerville, 408, 446 

Sault St. Marie, Mich., 6 

Scarboro, 200, 218 

Scarboro Beach, 217 

Schenectady, N. Y., 6 

Searsport, 370, 451 

Seattle, Wash., 476 

Sebago Lake, 122 

Sebec, 355 

Sedgewick, 234, 379, 439 

Shapleigh, 453 

Sheffield, Mass., 95 

Sherbrooke, P. Q., 360 

Sherman, 419 

Shiloh, 32 

Shirley, 415 

Sidney, 384, 399 

Skowhegan, 32, 33, 98, 99, 100, 
183, 184, 309, 350, 351, 356, 
364, 372, 373, 386, 396, 397, 

_ 401, 414, 425, 432, 435, 438, 


439, 440, 458, 470, 471, 472 
Smyrna Mills, 391 


Snow’s Falls, 426 


Solon, 429 

Somerville, Mass., 198, 365, 
464 

South Berwick, 376, 384, 415, 
473 

South Brewer, 391, 394, 412, 


421 

Southern Pines, N. C., 453 

South Freeport, 459 

South Gardiner, 469 

South Gray, 185 

South Hope, 431, 437 

South Paris, 35, 110, 303, 358, 
366, 367, 370, 384, 392, 401, 
408, 412, 426, 462, 471 


529 


South Penobscot, 409 

South Portland, 334, 363, 364, 
366, 369, 370, 375, 378, 380, 
384, 387, 393, 401, 403, 415, 
417, 418, 424, 429, 434, 438, 


440, 447, 448 
South Thomaston, 409, 415 


South Waterford, 450 

South West Harbor, 459 

South Windham, 249 

Spalding, Mich., 360 

Spaulding, 448 

Springfield, N. J., 402 

Springvale, 306, 327, 350, 372, 
422, 423, 443, 453 

St. Albans, 357, 426, 434, 436, 


453 
St. Alexandre, P. Q., 360 
Standish, 122, 200, 412, 417, 
462 
St. Croix, 4 
Steep Falls, 200, 249 
Stetson, 443 
Steuben, 419, 467 
St. John, N. B., 380, 447 
Stockholm, Sweden, 444 
Stonington, 454 
Stoughton, Mass., 19, 22 
Stow, Mass., 41 
St. Petersburg, Florida, 423 
Strong, 89, 229 
Stroudwater, 393 
St. Stephen, N. B., 428 
St. Vital, P. Q., 432 
Sumner, 29, 360 
Sunbury, 23 
Surry, 465 


T 


Tacoma, Wash., 444 

Tamworth, N. H., 189 

Taunton, England, 406 

Taunton, Mass., 350 

Temple, 317, 448 

Thomaston, 24, 180, 301, 328, 
341, 363, 372, 380, 402, 423, 
451 

Thomaston, Conn., 244 

Thorndike, 370 

Tisbury, Mass., 228 

Togus, 350, 416, 462 

Topsham, 27, 62, 89 

Toronto, Canada, 442 

Troy, 446 

Turner, 20, 29, 30, 103, 200, 
354, 357, 360, 363, 401, 407, 
411, 444, 457 


530 


GEOGRAPHICAL INDEX 


Oo —— ————— 


U 


Union, 20, 32, 199, 249, 364, 
407, 422, 445, 463, 4 

Unionville, Conn., 344 

Unity, 20, 172 


V 


Van Buren, 385 

Vassalboro, 111 

Verona, N. J., 358 

Vienna, 360 

Vinalhaven, 353, 356, 415, 417, 
418, 453, 454, 466 


W 
Wakefield, Mass., 391, 405, 445 
Waldo, 448 
Waldoboro, 180, 351, 363, 375, 
379, 440 


Waldo County, 103 

Wallingford, Conn., 436 

Waltham, Mass., 390 

Warren, 102, 394, 447, 474 

Warwick, P. Q., 447 

Washburn, 304, 360, 388, 422 

Washington, 445 

Washington, D. C., 34, 100, 
107, 421, 433, 449 

Watchic Pond, 323 

Waterboro, 372, 451, 468 

Watertown, N. Y., 370 


Waterville, 68, 89, 90, 170, 
202, 203, 251, 304, 305, 317, 
320, 321, 351, 354, 356, 358, 
362, 364, 372, 375, 383, 385, 
388, 393, 399, 402, 404, 408, 
409, 418, 423, 425, 426, 427, 
430, 437, 439, 447, 453, 454, 
458, 460, 464 

Wayne, 65, 89, 109, I10, 200, 
202, 204, 206, 401 

Weeks Mills, 405 

Weld, 372, 477 

Wellesley, Mass., 

Wells, 12, 68, 347 

Wells, Minn., 469 

Wenham, Mass., 93 

West Baldwin, 200 

Westbrook, 200, 211, 261, 305, 
351, 352, 357, 370, 371, 376, 
378, 395, 404, 405, 414, 415, 
417, 418, 419, 427, 431, 432, 
439, 452, 460, 462, 466, 476 

West Cumberland, 401 

West Falmouth, 419, 461 

Westfield, Mass., 2 

West Freeman, 368 

West Milton, N. H., 376 

Westover, England, 452 

West Paris, 457 

West Peru, 347, 369 

West Roxbury, Mass., 201 

West Scarboro, 429 


414 


Weymouth, Mass., 229, 469 
Whitefield, 379 
Whitefield, N. H., 369, 384 


White Rock, 249 
Whitneyville, 456 


Williamsport, Pa., 366 

Willimantic, 362 

Wilton, 356, 359, 418, 454 

Winchester, Mass., 413 

Windham, 88 

Windsorville, 474 

Winslow, 431 

Winter Harbor, 403, 437, 442 

Winterport, 116, 354, 395 

Winthrop, 20, 29, 34, 65, 89, 
109, 110, 165, 197, 198, 204, 
311, 334, 350, 361, 364, 379, 
398, 445, 463, 473 

Wiscasset, 29, 35, 414 

Wollaston, Mass., 397 

Woodfords Corner, 159, 413, 
459, 460 

Woodstock, N. B., 471 

Woolwich, 357, 468 

Worcester, Mass., 


201, 357 


172, 176, 


& 


Yarmouth, 185, 200, 205, 320, 


336, 352, 353, 395, 396, 400, 
402, 410, 442, 447, 468, 470, 


477 
Yarmouthville, 468 
York; 12, 26,108 
York County, 38, 39 


- 


A 
Zachan, Germany, 462 


GENERAL INDEX 


A 

- Abnakis, 1, 8 

Ainsworth’s Version of the Psalms, 9 

A.M. Abbott Chorale Society, Fryeburg, 288, 289 
Amateur Opera, 161, 188 

America, 67, 68 

American Advocate, The, 88 

American Guild of Organists, 264 
American Harmony or Royal Melody, The, 20 
American Revolution, Music of, 329 
Andrews Music House, 284 

Andrews Orchestra, Bangor, 114 
Androscoggin Musical Society, 188, 190, 291 
Annie Louise Cary Club, Gorham, 288, 289 
Antiquarian Singing Club, Rockland, 1o1 
Arion Club, Portland, 154 

Armory Building, Portland, 220, 239 
Assembly Hall, Portland, 36 

Associated Glee Clubs of America, 257 
Athene Club, Bangor, 279, 281 

Auber Hall, Saco, 110 

Augusta Choral Art Society, 191 

Augusta Glee Club, 100 

Augusta Symphony Orchestra, 276 

Aurora Borealis, 73 

Azara, 132. 133, 138 


B 


Bach Choir, Bangor, 284 
Ballard’s Chorus, Lewiston, 190 
Ballard’s Orchestra, Lewiston, 190 
Banps 
American Band, Westbrook, 351, 352 
American Cadet Band, Pottland, 334 
Auburn Cadet Band, 340 
Augusta Cadet Band, 354 
Bangor Band, 339 
Bangor Cornet Band, 337 
Bangor Light Infantry Band, 337 
Bar Harbor Cadet Band, 354 
Belfast Military Band, 341 
Bond’s Band, Boston, 337 
Boothbay Harbor Band, 354 
Boston Brigade Band, 330, 346 
Bridgton Band, 342 
Bridgton Cadet Band, 342 
’Brunswick Brass Band, 342 
Brunswick Cadet Band, 342 
Brunswick Drum Corps, 342 
Bucksport Military Band, 354 
Calais City Band, 354 
Camden Brass Band, 342 
Camden Cornet Band, 354 
Carter’s, T. M., Band, Boston, 341 
Chandler’s Band, Portland, 79, 191, 333 
Cherryfield Band, 342 
Citizens Band, Dexter, 354 


531 


Banps — Continued 
Citizens Band, Skowhegan, 351 
Citizens Cornet Band, Bangor, 338 
City Band, Old, Lewiston, 343 
Clark’s Band, Bangor, 337 
Class Thirteen Band, Portland, 354 
Cobb’s Quadrille Band, Portland, 333 
Colonial Band, Kennebunk, 354 
Continental Band, Old, 333 
Cumberland Center Band, 343 
Cumberland Mills Scotch Band, 352 
Damariscotta Brass Band, 343 
Danforth Band, 354 
Dixfield Band, 347 
Dover-Foxcroft Band, 353 
Drew’s Waterville Band, 351 
Druid Band, The, 100 
Dunstan Band, 334 
Durham Brass Band, 348 
East Corinth Band, 348 
Eastern Band of Lincoln, 354 
East Millinocket Band, 354 
Eastport Band, 354 
Edinburgh (Scotland) Silver Band, 345 
Ellsworth Band, 349 
Farmington Cornet Band, 349 
Fay & Scott Band, Dexter, 353 
First Battalion Cavalry Band, Boston, 345 
First Maine Regiment Band, 332 
First Portland Band, 122 
Forest City Band, Portland, 332 
Glover’s Band, Auburn, 340, 343 
Gorham Concert Band, 351 
Gray Band, 351 
Guilford Band, 354 
Guiseppe Verdi Italian Band, Portland, 336 
Hall’s Rockland Band, 346 
Harmony Band, 354 
Hobb’s American Band, Lewiston, 343 
Houlton Band, 354 
Irish Band, Lewiston, 343 
Italian Caruso Symphony Band, Portland, 


336 

James G. Wasgatt’s Quadrille Band, Ban- 
OAS Et ga ate 

Johnson’s Brass Band, Belfast, 341 

Kennebunk Band, 334, 351 

Kennebunk Military Band, 351 

K. of P. Boy’s Band, Presque Isle, 354 

Kora Temple Drum Corps, Lewiston, 345 

LeGault Boy’s Band, Portland, 336 

Le Montagnard Snow Shoe Club Drum and 
Bugle Corps, Lewiston, 345 

Lewiston Brigade Band, 344 

Livermore Falls Band, 345 

Lurvey’s Band, Lewiston, 343 

Machias Cornet Band, 345 

Madison Boy’s Band, 345 


532 GENERAL INDEX 


Banps — Continued 
Maine Centennial Drum, Fife and Bugle 
Corps, 336 
Maine State Fife and Drum Corps, 336 
Matinicus Brass Band, 354 
Merriman’s Band, South Portland, 334 
Millinocket Band, 345 
Milo Military Band, 354 
Monson Cornet Band, 354 
Montcalm Band, Lewiston, 343 
Moore’s Military Band, Kennebunk, 351 
Musselburgh (Scotland) Band, 345 
National Soldiers Home Band, Togus, 350 
New Gloucester Band, 351 
’ Newport Military Band, 354 
Norway Brass Band, 345 
Norway-Paris Band, 345 
Oakland Park Concert Band, 346 
Old American Band, Westbrook, 351 
Old Gity Band, Lewiston, 343 
Old Continental Band, 333 
Old Cumberland Band, 343 
Old Winthrop Band, 350 
Old Yarmouth Band, 352 
Painchaud’s Band, Biddeford, 193, 341 
Palmyra Band, 354 
Parish Band, Springvale, 350 
Passamaquoddy Indian Band, 354 
Patten Band, 354 
Payne’s Second eens Band, 344 
Pittsfield Band, 349 
Portland Band, 122, 251, 330, 340 
Portland Brass Band, 331 
Portland Girl’s Calendonian Pipe Band, 336 
Presumpscot Band, Cumberland Mills, 352 
Rigby’s Band, Portland, 335 
Rockland Band, 346 
Rockland Military Band, 346 
Rubie Band, East Livermore, 354 
Rumford Band, 350 
Saccarap Band, 330 
Saco Cornet Band, 192 
Salem Cadet Band, 344 
Sanford Band, 334 
Sanford Mills Band, 350 
Saxonia Band, 167 
Second Maine Infantry National Guard 
Band, 339 
Second Maine Regiment Band, 338 
Sixth Maine Regiment Band, 338 
Skowhegan Band, 350 
Smith’s Vinalhaven Band, 354 
pert s Home Band, Hampton, Virgenes 


saath Theda Cornet Band, 342 

South Paris Brass Band, 345 

St. Cecilia Boy’s Band, Lewiston, 343 

St. Dominic Association "Band, Lewiston, 343 
St. James Band, Portland, 336 

State Soldiers Home Band, Bath, N. Y, 


344 


Banps — Continued 
Ste. Rose Band, Livermore Falls, 345 
Taunton Band, Taunton, Mass., 350 
Thomaston Brass Band, 341 = 
Tony Clark’s Band, Westbrook, ae2 
Tri-Mill Chapter Band, Livermore F alls, 345 
Turner Band, 354 : 
Union Brass Band, Belfast, 337, 341° 
Union Brass Band, Cape "Elizabeth, 342 
United States Fifth Infantry Band, 337 _ 
be ae Band, Sanford-Springvale, 


Waldcnore Band, 351 

Wasgatt’s Quadrille Band, Bangor, 337 
Waterville Military Band, 354 

West Falmouth Band, 349 

West Peru Band, 347 

Wheeler’s Band, Farmington, 349 
Whiddon’s Quadrille Band, Belfast, 341 
Winterport Cornet Band, 354 
Winthrop Band, 334, 350 

Yarmouth Brass Band, 352 

10th Maine Infantry Band, 342 

10th Regiment Band, N. Y., 344 
103rd Infantry Nat. ‘Guard Band, 350 
240th Coast Artillery Nat. Guard Band, 


335 . 

Bangor Choral Society, 177 

Bangor Conservatory of Music, 179, 192 

Bangor Historical Society, 114 

Bangor Musical Association, 98 

Bangor Musical Education Society, 94 

Bangor Public Library, 90, 95 

Banjo and Guitar Club, Bangor, 179 

Bank of Portland, 46, 79 

Bates College, 317, 318 

Baxter Building, Portland, 171 

Bay Psalme Book, The, 9, 11 

Beethoven Club, Portland, 160 — 

Beethoven Club, Rockland, 303 

Beethoven Hall, Rockland, 1o1 

Beethoven Musical Society of Portland, 42 to 
57, 68, 76, 78, 79, 118 

Beethoven Musical Society, Saco, 110 

Beethoven Trio, 253 

Belfast Choral Society, 194 

Belfast Musical Society, 194 

Belfast Philharmonic Association, 305 

Bell, Father Rale’s Chapel, 7 

Bell Ringers and Chimes, 201 

Biddeford Choral Union, 191 

Birthplace of Annie Louise Cary, 204 4 

Birthplace = John Knowles Paine, 121, 137, 
i 

Birthplace oe Lillian Nordica, 228 

Birthplace of Portland Rossini Club, a } 

Bloomfield Academy, 100, 184 

Blue Hill Choral Society, 305 

Blue Laws, 63 

Book of Psalms, The, 9 

Boston Academy of Music, 87 


GENERAL INDEX 533 


Boston Academy’s Collection, 88 

Boston Conservatory of Music, 183 

. Boston Music School, 94 

Boston Peace Jubilee, 113, 152, 153, 154, 190, 
198, 300 

Boston Public Library, 50 

Boston Symphony Concerts, 127 

Boston University, 201 

Bowdoin College, 39, 40, 110, 
314, 317, 318 

Brahams Trio, Portland, 253 

Bridgewater Collection of Sacred Music, 43 

Brunswick Orchestral and Choral Society, 285 

Building in which opera was first performed in 
Maine, 36 

Building in which a complete oratorio was first 
sung in Maine, 45 

Building in which an oratorio by an American 
Composer was first presented in the 
United States, 126 

Building in which the oldest existing women’s 
music club in America was born, 140 


165, 271,-276, 


C 


Canal National Bank, 46 
Casco Glee Club, Portland, 86 
Casco Serenading Club, Portland, 87 
Casco Trio, Portland, 86 
Cathedral Choirs of Portland, 162 
Catholic Church Music, 4 to 8, 162, 163, 182, 
187, 263, 264, 310 
Cecilia Club, Augusta, 276 
Cecilia Club, Bangor, 177, 178, 179 
Cecilia Club, Lewiston, 188, 189 
Cecilia Club, Waterville, 304 
Centennial Exposition, 104 
Central Hall, Lewiston, 89 
Central Maine General Hospital, 219 
Central Market Hall, Bangor, 94 
Chamber Music, 253 
Chamber Music Club, Portland, 253 
Chamber Music Trio, Portland, 253 
Chandler’s Band, 79, 191 
Chicago Opera House, 247 
Chickering Pianos, 80, 141, 327, 328 
Chimes and Bell Ringers, 201 
Choirs, Portland, 261 
Chopin Club, Westbrook, 305 
Choral Art Society, Augusta, 276 
Choral Art Society, Portland, 306 
Chorister’s Companion, The, 32, 33 
CHURCHES 
Auburn 
High St. Congregational, 187, 297 
Augusta 
St. Mark’s Episcopal, 275, 276 
Winthrop St. Universalist, 172 
Bangor 
Central, 277, 279 
First Parish, 92, 94 


CuurcHEs — Continued 
Bangor 
Hammond St. Congregational, 93, 115, 180 
St. John’s Episcopal, 179, 180 
Union Street, 94 
Unitarian, 180 
Universalist, 180 
Belfast 
Unitarian, 60, 61, 100, 194 
Biddeford 
Second Congregational, 328 
Boston 
Brattle St., 
Bridgton 
Episcopal, 199 
Brunswick 
Church of Christ, 27 
First Parish, 62 
East Corinth 
Old Baptist, 197 
Farmington 
Congregational, 186 
Gorham 
Congregational Meeting House, 88 
Methodist, 164 
Hallowell 
Old South, 24, 27, 89 
Lewiston 
Free Baptist, 190 
St. Joseph’s, 187 
Livermore Falls 
First Baptist, 198, 199 
North Yarmouth 
Congregational Meeting House, 88 
Portland 
All Souls Universalist, 263 
Cathedral of the Immaculate Conception, 
162, 163, 263 
Central Square Baptist, 263 
Chestnut Street M. E., 79, 164, 263, 272, 


273 

Church of the Messiah, 263, 272 

Church of the Sacred Heart, 263, 310 

Clark Memorial, 263 

Congress Square Universalist, 165, 192, 263 

Congress Street M. E., 263 

Federal St., 165 

First Baptist, 165, 263 

First Free Baptist, 263, 310 

First Parish Portland (Falmouth), 12 
14, 35, 45, 47, 48, 50, 69, 81, 165, 166, 
168, 169, 261, 262, 263, 272 

Free Street Baptist, 263 

High Street Congregational, 79, 80, 263 

New Jerusalem, 263, 273 

Park St., 80, 87, 223, 263 

Pearl St. Universalist, 122, 165 

Pine St. M. E., 263 

School St. Episcopal, 166 

Second Parish Congregational, 35, 45, 46, 
50, 69, 72, 73, 79, 122, 163, 165, 263 


13, 23 


534 - GENERAL INDEX 


CuurcHEes — Continued 
Portland 
St. Joseph’s, 263. 
St. Lawrence Congregational, 165, 263, 273 
St. Luke’s Cathedral, 263, 272, 306, 313 
St, Paul's 263% 
St. Stephen’s Episcopal, 122, 165, 263, 336 
State St. Congregational, 168, 190, 263, 
272, 309 
Third Parish, 69, 110, 164 
Trinity Chapel, 263 
West Congregational, 263 
Williston Congregational, 263, 272 
Woodfords Universalist, 263 
Woodfords Congregational, 263 
Rockland 
Baptist, 182 
Catholic, 182 
Cedar St., 102 
Congregational, 101, 181, 300 
Episcopal, 182 
Free Baptist, 182 
Methodist, 64 
Old Brick, 64 
Second Baptist, 102 
Universalist, 101, 183 
Saco 
First Parish, 28, 192 
Unitarian, 193 
Skowhegan 
Brick, 184 
Congregational, 32, 99, 184 
First Baptist, 184 
First Meeting House, 33 
First Parish, 184 
Thomaston 
Congregational, 180 
Topsham 
First Parish, 27 
Wayne 
Baptist, 110 
Winthrop 
Congregational, 109, 198 
Methodist, 198 
Yarmouth 
Central Parish, 336 
City Hall, Bangor, 278, 281 
City Hall, Portland, 81, 87, 120, 240, 250, 257, 
265, 332 
Clavier Club, Lewiston, 291, 292, 293 
Clef Club, Belfast, 194 
Clef Club, Lewiston, 291, 292, 293 
Clef Club, Presque Isle, 298, 299 . 
Clifford Boys Music Club, Portland, 274 
Club Musicale Litterarie, Lewiston-Auburn, 290, 
291 
Coburn Classical Institute, 317 
Colby College, 68, 317 
Colby University, 201 
Community Singing, 249 


CoMPosERS 


Abbott, Mrs. Alberta Mabry, 145, 288 

Alden, Zilpha May,* 355 

Allen, Rev. Lorenzo B.,* 202 

Andrews, Melville H., 114, 176, 178, 179, 
279, 280, 281, 283, 338 

Andrews, Miriam B., 145, 289, 313, 356 

Bacheller, Willis Emery,* 199 

Baker, B. F., 89, 90, 93, 116, 181 

Ballard, Levi W., 89, 189 

Barnlund, A. W., 419 

Belanger, "Joseph 1) 286, 297, 342, 360 

Belcher, Supply, 20, 22, O70 

Bernauer, Francis Stephens, 361 

Bradbury, William Bachelder,* 108, 116 

Bray, Oliver, 35 

Briggs, oe Cora Skillings,* 161, 225, 226, 
303, 

Brinkler, ‘Alfred, 255,256, 287,258. (203) 
264, 273, 367 

Brooks, William Grant,* 193, 313 

Brown, Gail Ridgway, 368 

Brown, Lewis Ronello,* 272, 368 

Brown, Zilda Jennings,* 368 

Brunelle, Arthur, 296, 369 

Burnham, Edith,* 370 

Burr, Co Gia 

Burr, Mary Rosamond, 298, 321, 370 

Butler, Nathaniel,* 202 

Buxton, William "Herbert,* 313, 314, 371 

Carson, Zeula,* 290, 373 

Cary, William, 68 

Chapman, Frederick EK. sa3 c994 

Chapman, William R., 220, 221, 223, 227, 
308, 313, 374 

Chase, Annie P.,* 374 

Chase, Caroline Fenno,* 276, 277, 374 

Chase, George W., 100 

Chase, Mrs. Henry, 173 

Clarke, Helen Archibald, 376 

Cochrane, Harry Hayman,* 377 

Coombs, Charles Whitney,* 203, 378 

Cote, Alphonse W.,* 295, 296, 297, 379 

Covey, Dr. Florence A., 380 

Cressey, Charles Robert,* 263, 272, 273, 
326, 380 

Crockett, George Albian,* 380 E 

Cronham, Charles Raymond, 264, 268, 269, , 
270,271, 27a, 7440 

Crouch, Frederic Nichols, 77, 81, 82, 83, 85, 
86, 122 . 

Damon, Frances Brackett,* 382 


Davenport, Frederick §., 92, 98, 113, 114)" 


116, 154, 176, 177, 180, 183, 279 
Dean, Mrs. James Lowell,* 385 
Deering, Nathaniel,* 34, 52, 56 
Dinsmore, Harry Augustus,* 325, 386 | 
Dole, Nathan Haskell, 387 
Dunham, Mellie,* 175, 316, 388 
Edgerly, Cora Emily,* 389 


* Native of Maine. 


GENERAL INDEX 535 


Composers — Continued 


Edwards, George Thornton, 157, 249, 250, 
251, 314, 389 

Edwards, Henry S., 77, 78, 80, 165, 199, 201 

Emerson, Irving,* 309 

Emerson, Luther O.,* 107, 108, 116, 181 

Emery, James, 67 

Emery, Stephen A., *° 201, 202 

Fagan, John T.,* 53, 119, 164, 166, 254, 
266, 268, 313, 329, 334, 336, 391 

Favor, Edward P., 392 

Fish, Clarence A.,* 346, 394 

Frost, Simeon A., 39 

Gage, Walter R.,* 309, 397 

Garland, Abbie Nickerson,* 114, 178, 179, 
277, 281, 397 

Garton, Cedric H.,* 397 

Giboin, George G., 297, 398 

Gilbert, Joseph Jean,* 398 

Gilbert, Marion E., 313 

Gilberte, Hallett,* 398 

Glynn, Thomas E.,* 162, 174, 175 

Goodale, Ezekial, 30 

Goold, Walter, 161, 263 

Gould, John Edgar, 112 

Gould, N. D.,* 96, 116 

Green, Mary Thompson, 275, 313, 314 

Hamilton, Gertrude Bean,* 403 

Hamlin, Charles E.,* 203 

Hanscom, E. W.,* 188, 189, 190, 297 

Hartwell, Edward, 32, 33 

Hayden, Victoire, 203 

Hill, Fred Lincoln, Po7rgss, 256, 258; 263, 
264, 273, 406 

Hodgman, William A.,* 407 

Holden, Oliver, 68 

Hollister, Leona Stevens, 313, 408 

Holmes, Annie C., 146, 226 

Holt, G. Dana,* 344, 347, 408 

Howard, Helen W.,* 313 

Humphrey, Homer C.,* 225, 410 

Hunter, Herbert C.,* 349, 350, 410 

Hurd, Herbert Archie,* 264, 288, 321, 410 

Hyde, Arthur, 149, 195, 225, 263, 306, 307 

Ilsley, Charles P87 112 

Johnson, Eugene Francis,* 199 

Jones, Embert L., 313, 412 

King, Rev. Henry Ni” 203 

Korda, Joseph, 253, A16 

Kotzschmar, Hermann, 77, 78, 80, 87, 90, 
eek 7.810. 120, 122, 123, 125, 137, 
143, 147, 153, 155, 156, 157, 158, 159, 
162, 165, 166, 167, 168, 169, 170, 171, 
187, 190, 225, 239, 253, 261, 263, 265, 
267, 272, 273, 291, 306, 310 

Lamb, Rev. F. M.,* 188, 202, 417 

Lambord, Benjamin,* 312 

Leighton, Clifford E.,* 419 

Lepine, Raoul,* 419 

Little, Anita Gray,* 69, 421 

Locke, Poy. 202 


Composers — Continued 


Lord, Helen Cooper, 302, 421 

Loring, Harold,* 263, 422 

Lougee, Marguerite Emma,* 422 

Lovejoy, Alden Wing,* 200, 201 

Lyon, C. Leroy, 285, 423 

Lyon, James, 15 to 19 

Macy, Edward H., 424 

Mainente, Anton E., 350, 424 

Maloney, Fanning G., 254, 313, 424 

Mansfield, Nathaniel H., 112 

Marston, George W., 147, 150, 152, 167, 
169, 170, 171, 202, 263, 274, 314, 315 

Mason, Luther Whiting,* 103 to 107 

Maxim, Abraham, 29, 30 

Maxim, John, 68 

Mayberry, Willard, 222, 334, 336, 352 

McDonnell, Charles H.,* 427 

McGregor, Eleanor B., 146, 275 

McLellan, Harry,* 195, 225, 285, 428 

Meader, Emily Peace,* 203 

Milliken, Melville C., 159, 172, 275 

Murray, Harvey, 119, 156, 157, 160, 164, 
171, 189, 190, 239, 263, 291, 310 

Nason, Hamilton,* 433 

Nolcini, Charles, 48, 50, 52, 67, 261, 324 

Norris, Homer Albert,* 202 

Noyes, Leola Flint,* 303, 434 

Nye, Frank A.,* 335, 435 

Orne, Ernest B.,* 313 

Paine, David,* 70, 78, 79, 80, 87, 122, 261, 


325 

Paine, Jacob 8.;* 70, '122):323)°325, 330 

Paine, John Knowles,* 117, 121 to 140, 
170, 330 

Paine, W., 68, 79, 325 

Patten, Willard,* 114, 176, 178, 180 

Payson, Donald M.,* 268, 437 

Perkins, David Page,* 154, 155, 438 

Porter, F. Addison,* 441 

Pratt, John Haraden,* 441 

Quimby, George A., 203, 263 

Ringwall, Knute Algot, 280, 281, 339, 444 

Robbins, Charles, 33 

Robbins, Reginald Chauncey, 445 

Rodgers, Harry Everett, 297, 446 

Rolfe, Walter, 313, 446 

Roy, Emile H.,* 297, 447 

Sanborn, Percy Arville,* 341, 448 

Sanford, Seete 449 

Sawyer, B., 

Shaw, Alice eee * 450 

Shaw, Mrs. Carrie Burpee,* 226, 301, 450 

Shaw, Oliver T., 203 

Silsby, Mae,* 178, 179, 203, 226, 278, 279, 
280 

Sleeper, Henry Dike,* 134, 309 

Sleeper, Samuel, 112 

Smith, Joshua, 112 

Smith, Samuel Francis, 67, 68 


* Native of Maine 


536 


Composers — Continued 
Snell, Lillian Lucinda,* 
Spencer, Wilbur C., 313 
Sprague, Adelbert Wells, 225, 339, 455 
Sprince, Henry, 297, 455 
Springer, Moses, Jr., 31 
Stinchfield, Oliver Dorrance,* 225, 297, 458 
Stockbridge, Ira C.,* 154, 170, 203, 325, 
326, 459 

Stone, Joseph, 112 

Stott, Harry, 313, 459 

Swan, Timothy, 68 

Sweetser, Benjamin, 68, 111 

Talbot, B., 68 

Ter Linden, Johann Gottlieb, 158 

Thieme, Bertholde W., 344, 347, 350, 452 

Thomas, George A., 78, 87, 120, 155, 164, 
165, 166, 185, 349 

Thomas, Ruth Ella, 302, 322, 462 

Thomes, Frank H., 462 

Thompson, Sinclair, 273, 463 

Tolman, Carl Jean,* 317, 322, 463 

Towle, Blanche,* 464 

Treworgy, Anne Florence,* 464 

True, Latham, 253, 263, 272, 273, 304, 310, 


353, 454 


465 

Tufts, J. W., 91, 92, 98, 170, 179 

Turner, Alfred Dudley, 203 

Usher, Ethel Watson,* 466 

Vannah, Kate,* 312, 466 

Washburn, Japheth Coombs, 29, 30 

Watson, Willis Elmer,* 469 

Wellcome, Frank O.,* 334, 470 

Weston, Alice,* 203 

Wheeler, Prince,* 203 

Whelpley, Benjamin Lincoln,* 203, 471 

White, Elise Fellows,* 147, 311, 313, 314,471 

White, Paul Taylor,* 203, 472 

Whiting, S. K., 198 

Wight, James,* 203, 346 

Wilder, Solon, 116, 176, 183 

Woods, Harvey j.* 281, 339, 476 
Constitution and Guerriere, 34 
Cornish Music Conventions, 185, 186 
Creation, 70 to 75, 79, 81, 118, 186, 190 
Cumberland Collection, The, 111 
Cumberland County Music Conventions, 185 
Cumberland County Philharmonic Society, 96 
Cumberland Musical Association, 88 
Cutts Hall, Saco, 192 


D 
Dartmouth College, 35, 327 
Davenport’s Chorus, Bangor, 176 
Dean of American Composers, 136 
Deane’s Orchestral Club, Portland, 253 
Deering Hall, Portland, 90, 123 . 
Deering High School, Portland, 250 
Delaware College, 104 
Derthic Club, Bangor, 278, 279 


* Native of Maine 


GENERAL {[NDEX 


First appearance of Annie Louise Cary in 7 


E 

East Machias Glee Club, 196 a 
Eastern Maine Music Festival Association, 221 

to 228 a 
Eastern Music Supervisors Conference, 321 a 
Eberhardt College, 168 a 
Elbow Melodian, 196 ea 
Esquimos Nith Song, 2 ‘oe 
Ethelbert Neven Club, Springvale, 306 
Euterpean Club, South Paris, 303 
Exchange Hall, Portland, 79, 80 


Fairfax Collection of Sacred Music, 30 

Farmington Choral Society, 186 

Father Kemp’s Troupe, 198 

Fiddlers, 315, 316 

Fifer’s Manual, 31 

Findley College, 108 ion 

First advertised concert by Portland Academy 
of Music, 70 

First American composer, The, 15 a 

First American composer to write a sacred ora- = 
torio, The, 120 “— 

First. American oratorio performed, 120 - 

First American singer to be bearg1 in the Tro- 1 
cadero, Paris, The, 232 ; 

First announcement in which the name us creda q 
Music Society” appears, 70 a 

First annual session of the Maine State Musi- . 
cal Association, 89 


zs 


opera, 208 
First appearance abroad of Emma Eames, 245 
First appearance in New York of Emma Eames, oa 


246 4 
First appearance in America of Geraldine Fart 2 
rar, 247 * 
First attempt at choral singing in Maine, 6 7. 
First me iy. to organize a choir on Maine 
et a 


First author in Maine to print books of own 
composition, 19 
First band organized in Portland, 46 
First bank established in Portland, 46 
First bishop of Portland, 162 a 
First book to introduce tunes not of a religious 
character, 32 ‘ 
First celebration of Mass in New England, 4 
First chair for music to be established in an 
American university, 124 
First choir leader of Farmington, 22 
First church organ in Portland, 35 q 
First church east of Saco River, 12 et 
First church organist in Portland, 35 _ 
First community sing in Portland, mle ee 3 
First community chorus organized in Maine, 250 _ 
First composer born in the State of Maine, 107 a 
First composition of George W. Marston to at- q 
tract attention, 170 re 


: eo 
2 1 o- ad Aah A 
a es ae 


oe) 


GENERAL INDEX 537 


First concert by the Beethoven Musical So- 
ciety of Portland, 45 

First concert by the Portland Sacred Music 
Society, 70 

First concert of any kind given in Chicago, 76 

First concert by the Cecilia Club of Bangor, 178 

First concert by the Portland Muncipal Or- 
chestra, 271 

First concert given in City Hall, Saco, 191 

First concert by the Parlor Musical Society, 
Belfast, 194 

First concert by the Penobscot Musical Asso- 
ciation, 93 

First conductor of the Orpheus Club, Rockland, 


181 

First conductor of the Hallowell Harmonic So- 
ciety, 88 

First county musical organization in Maine, 41 

First dancing school opened in Brunswick, 62 

First great achievement of the Penobscot Musi- 
cal Society, 94 

First Great Cincinnati Festival, 212 

First house of worship in Fryeburg, 22 

First hymn book bearing a Maine title, 20 

First important American composition to be 
performed at the Boston Symphony 
Concerts, 127 

First instruction book of instrumental music 
published in Maine, 30 

First leader of the Cumberland County Music 
Conventions, 185 

First Liberty Chorus to be incorporated in 
United States, 253 

First Maine Music festival in Portland, 220 

First meeting of the Handel Association of Ban- 
gor, 176 

First meeting of Handel Society of Maine, 38 

First meeting place of the Beethoven Musical 
Society, 44 

First meeting of the Cumberland Musical As- 

sociation, 88 

First meeting of the Penobscot Musical Asso- 
ciation, 93 

First municipal music commission to be es- 
tablished in America, 268 

First Municipal organist of Portland, 256 

First music performed at an English settlement 
in America, 8 

First music performed at any settlement in 
Maine, 8 

First music of an American composer to be 
performed abroad, 135 

First music teacher, Annie ‘Louise Cary’s, 206 

First musical association to be organized in 
Lewiston, 187 

First musical instrument introduced in Augusta, 
58 

First musical instrument manufactured in Ban- 
gor, 28 

First musical society in America to bear the 
name of Beethoven, 42 


First musical society to sing an entire stand- 
ard oratorio in Maine, 70 

First naval engagement, America’s, 18 

First notable music festival in Maine, 74 

First notice of Handel Society of Maine, 38 

First officers of the Androscoggin Musical So- 

_ ciety, 190 

First officers of the Bangor Musical Associa- 
tion, 98 

First officers of the Beethoven Musical Society, 


43 
First officers of the Belfast Musical Society, 194 
First officers of the Cecilia Club of Bangor, 178 
First officers of the Cecilia Club of Lewiston, 188 
First officers of the Cumberland County Phil- 
harmonic Society, 96 
First officers of the Franklin County Musical 
Institute, 97 
First officers of the Handel Association of Ban- 
gor, 176 
First officers of. the Haydn Association of Port- 
land, 117 
First officers of the Knox and Lincoln Musical 
Asso., 180 
First officers of the Kreutzer Club of Portland, 
154. 
First officers of the Lewiston Musical Associa- 
tion, 187 
First officers of the Maine State Musical As- 
sociation, 89 
First officers of the Mendelssohn Club of East 
Machias, 196 
First officers of the Mendelssohn Club of Lewis- 
ton, 188 
First officers of the Old Baridd Orchestral So- 
ciety, 157 
First officers of the Orpheus Symphony Club, 
Portland, 158 
First officers of the Penobscot Musical Associa- 
tion, 93 
First officers of the Portland Philharmonic So- 
ciety, 158 
First officers of the Portland Sacred Music So- 
ciety, 78 
First officers of the Rossini Club of Damaris- 
cotta, 184 
First officers of the Waldo County Musical As- 
sociation, 100 
First officers of the Weber Club, Portland, 155 
First oratorio written on American soil, 120 
First orchestra in Chicago, 76 
First organ of Beethoven Musical Society, Port- 
land, 46 
organ of St. John’s Episcopal Church, 
Bangor, 179 
First organ owned and used by Old First Parish 
Church, Portland, 50 
First organ used in Old Brick Church, Rock- 
land, 64 
First organ used in Portland, 323 


First 


538 


GENERAL INDEX 


First organ used in a Methodist Church in 
Maine, 79 

First performance of “Oedipus Tyrannus,” 

First performance of opera in Maine, 36 

First performed, Building in which an oratorio 
by an American Composer was, 126 

First performed, in Lewiston, Oratorio, 190 

First performed, in Maine, Building in which 
opera was, 36 

First piano constructed in Portland, 324 

First piano shipped into Maine, 327 

First pipe organ brought to America, 13 

First place of meeting of Rossini Club, 141 

First presentation of an American oratorio in 
the United States, 125 

First presentation of a complete oratorio in 
Chicago, 76 

First presentation of the “Creation,” 76 

First presentation of the “Creation” in London, 


132 


7 
First presentation of the “Creation” in America, 


7 
First presentation of the “Creation” in Boston, 


7 ‘ 
First presentation of the “Creation” in Maine, 


76 
First presentation of “The Messiah” in Dublin, 
6 


7 
First presentation of “The Messiah” by Handel 
and Haydn Society of Boston, 76 
First presentation of “The Messiah” in New 
York, 76 
First presentation of “The Messiah” in Maine, 
é 


Ff * 

First presentation of Paine’s oratorio “St. Peter,” 
124 

First presentation of a complete oratorio in 
Maine, 70 

First presentation of an oratorio in England, 75 

First presentation in the United States of a 
sacred oratorio by an American com- 
poser, 120 

First presentation of “Samson,” 79 

First president Eastern Maine Festival Chorus, 
223 

First cneadant and founder of the Beethoven 
Musical Society, 52 

First president of the Portland Sacred Music 
Society, 78 

First president of ae Somerset Sacred Music 
Society, 9 

First eee of Ake Handel Society of Maine, 


First Saas of the Western Maine Festival 
Chorus, 222 

First president of the Portland Men’s Singing 
Club, 256 

First public performance of the Haydn Asso- 

ciation of Portland, 117 

First public performance of the Portland Sacred 

Music Society, 79 


First 


Saco Valley Music F estival, 248 
First 


ciety, 53 
session of the Knox and Lincoln Musical 


Association, 180 


First 


First 

Association, 100 
First 
First 
First 


State Music Festival, 90 

state-wide Musical Association in Maine, 
38 , 

First theatrical presentation in Portland, 36. 

First 

America, 125 


First time in America, the performance of an 


oratorio by an American composer, 125 E: 


First to conduct an outdoor community sing in 


Portland, 250 


First to introduce harmonica into Boston vaude- q 


ville, 175 
First to play ’ saxophone i in America, 158 — 
First to teach American music in Japan, 103 
First to teach chants to Maine Indians, 6 


First town in Maine to be named for a musical — : 


composition, 38 
First vocal conductor of the Portland Sacred 
Music Society, 79 


First white man’ 8 song heard in Maine waters, 4 q 


First white man’s song heard on Maine soil, 4 
First woman saxophonist in America, 158 
Fletcher Club, Rockland, 182 

Fluent Hall, Portland, 161 

Flute Melodies, uo Ad 

Foyer Musical, Lewiston, 295 
Franklin County Musical Association, 91, 97 
Franklin County Musical Institute, 97 © 
Franklin County Savings Bank, 97 
Freedom Academy, 315 

Fremstad Music Club, Bridgton, 306 
Furbish’s Academy, 66 


G 


Germania Orchestra, Boston, 190 
Gift of God, 8 

Gilmore’s Musical Congress, 113 
Girl’s High School, Portland, 118 
Gorham Academy, 111 

Gorham Musical Association, 186 
Gorham Seminary, 80 

Gospel Hymn Book, 30 

Gounod Club, Bangor, 277, 278 


Gray Music Convention, 185 = 


Gregorian Music, 163 


Hallowell Academy, 24, 2 
Hallowell Collection of Sea Music, 31 
Hallowell Harmonic Society, 88 


secretary of the Beethoven Musical Sou 


session of the Waldo County Musical , 


settlement at Belfast, 60 . at 3 


thorough composer of the grand style in 


* 


GENERAL INDEX 


539 


Hancock Musical Association, 41 

Handel and Haydn Society, Boston, 29, 31, 38, 
42, 47, 79, 81, 84, 87, 88, 93, 94, 113, 
fae 121, 136. 186, 207, 232, 323 

Handel and Haydn Society’s Orchestra, 79 

Handel Association, Bangor, 176, 177 

Handel of Maine, The, 20 

Handel Society, Bath, 61 

Handel Society, Gorham, 59 

Handel Society of Maine, 89 

Hand Organ Celebration, 173 

Hans Gram Musical Society, 23, 34 

Harmonia Americana, The, 20 

Harmonic Club, Cornish, 287 

Harmony Club, Lincoln, 298 

Harmony Club, Rockland, 302 

Harmony of Maine, The, 9, 20 

Harvard Chair of Music, 135 

Harvard Classical Club, 133 

Harvard Graduates Magazine, 135 

Harvard Greek Play, 128 to 132 

Harvard Musical Course, 124 

Harvard University, 124, 128 to 132, 138, 328 

“Hayden” Society, Brunswick, 62 

Haydn Association, Portland, 80, 82, 113, 116 
to 118, 119, 144, 165, 168, 187, 195 

Haydn Trio, Portland, 253 

Houlton Music Club, 289, 290 


I 


Imperial Mandolin and Guitar Club, 162, 174 
Indian Philosopher, 32 

Indian Reservations, 162 y 
Indians of Maine, Music of the, 1 to 8 
Industries, Musical, 322 to 327 

Instructor in Martial Music, The, 30 
Instrumental Director, The, 31 

Instruments, Musical, 327 to 329 
International Longfellow Society, 137 


J 


Japan, Minister of Education from, 104 
Jefferson Theatre, Portland, 162 
Juvenile Lyre, The, 67 


K 
Kathleen Mavourneen, 81, 82, 84, 85 
Kent’s Hill Seminary, 317 
King’s Chapel, Boston, 50 


Knox and Lincoln Musical Association, 300 
Kotzschmar Club, Portland, 144, 168, 272, 273, 


308 

Kotzschmar Hall, Portland, 306 

Kotzschmar Memorial ,Organ, Portland, 169, 
264, 269, 270, 271 

Kreutzer Club, Portland, 154 


L 


Ladies Verdi Mandolin and Guitar Club, Lewis- 
ton, 191 

Lambord Choral Society, New York, 313 

Lancaster Hall, Portland, 80 

Lewiston and Auburn Choirs, 297 

Lewiston and Auburn Oratorio Society, 295 

Lewiston and Auburn Symphony Orchestra, 296 

Lewiston Musical Association, 187, 188 

Liberty Chorus, 250, 251, 252 

Lining out the Psalm, 14 

Longfellow Birthplace, 137, 138 


- L’Orpheon, Lewiston, 295 


L’Union Musical, Biddeford, 193 
L’Union Musical, Lewiston, 293 


Lyric Club, Caribou, 287, 299 


M 


MacDowell Club, Portland, 273, 274 

MacDowell Trio, Portland, 253 

Maine Charitable Mechanics Association, 46, 54 

Maine Collection of Church Music, 29, 31 

Maine Composers (See Composers) 

Maine Conservatory of Music, 308 

Maine Federation of Music Clubs, 307, 308 

Maine Festival Chorus, 196, 197, 220 to 228, 
279, 300 

Maine General Hospital, Portland, 218, 219 

Maine Historical Society, 39, 330, 331, 332 

Maine Music Festival, 74, 115, 169, 220 to 228, 


239 
Maine State Musical Association, 89, 90, 113, 

189 
Maine State Music Supervisors Association, 317 
Maine State Seminary, 190 
Maine Symphony Orchestra, 222 
Market Hall, Bangor, 93 
Marston Club, Portland, 274, 275 
Mary and John, 8 
Melodian, Elbow, 196 
Mendelssohn Club, Bangor, 278 
Mendelssohn Club, Bath, 285 
Mendelssohn Club, East Machias, 196 
Mendelssohn Club, Lewiston, 188 
Mendelssohn Quintette Club, Bath, 195, 247 
Mendelssohn Trio, Portland, 253 
Merrill Hall, Farmington, 242 
Messiah, The, 76, 79, 81, 84, 113, 118, 187, 190 
Mockingbirds, The, 87 
Monarch Banjo and Guitar Club, Belfast, 194 
Mozart Club, Brunswick, 286, 287 
Mozart Club, Portland, 151, 165 
Mozart Club, Rockland, 1o1 
Mozart Society, Bath, 194 
Mozart Society, Brunswick, 62, 194, 195 
Municipal Concerts, 249, 265 to 269 
Music Controversy, 10 
Music Course, The National, 104, 105 
Music Hall, Boston, 123 
Music in the Maine Woods, 322 


540 GENERAL INDEX 


Music of the District of Maine, 20 to 41 
Music of the Indians of Maine, 1 to 8 
Music of the Province of Maine, 9 to 19 
Music of the State of Maine, 42 to 477 
Music of the American Revolution, 329 
Music, Reformation in, 11 

Music Schools, Attendance prohibited, 36 
Musical America, 17, 249 

Musical Association of Bath, The, 103 
Musical Club, Brunswick, 194 

Musical Conventions, 183, 184 

Musical Industries, 28, 31, 322 to 327 
Musical Repertoire, The, 30 

Musical Union, Lewiston, 292, 293 
Muzzey’s Hall, Portland, 162 

My Country ’Tis of Thee, 68 


N 


Nathan Clifford School, 274 

National Association of Organists, 264 

National Bureau for Advancement of Music, 
319, 321 

National Education Association, 320 

National Federation of Music Clubs, 307, 319 

National High School Chorus, 320 

National High School Orchestra, 320 

National Peace Jubilee, Boston, 186, 190 

New England Conservatory of Music, 183, 201, 
231, 309, 317, 340 

New ses Federation of Men’s Glee Clubs, 


New Babiend Psalm Singer, The, 19 
Nith Song, 2 

Nordica Club, Fort Fairfield, 288, 299 
Northern Harmony, ‘The, 29 

North Penobscot Musical Association, 116 
Norumbega Hall, Bangor, 94, 95 


O 


Oedipus Tyrannus, 128 to 132 
Old City Hall, Portland, 126 
Old Colony C ollection of Anthems, 43 
Old Hundred Society, East Machias, 196 
Old Winthrop Choir, 197 
Oldest women’s musical club in America, 140 
Oratorio, St. Peter, 121, 124 to 126, 136, 137 
ORCHESTRAS 
Ardon Coombs’, Portland, 157 
Augusta Symphony, 276 
Bangor Symphony, 281 to 284 
Biddeford Philharmonic, 342 
Brunswick Orchestral ae 285 
Chandler’s, Portland, 333 
Dean’s Orchestral Club, Portland, 253 
Grimmer’s, Portland, 336 
Lewiston Symphony, 296 
Morrison’s, Skowhegan, 351 
Murray’s, ‘Livermore Falls, 345 
Orpheus Symphony Club, Portland, 158 


Orcuestras — Continued 
Painchaud’s, Biddeford, 341 
Philharmonic, Portland, 159 
Philharmonic Orchestral Society, Old, Porte ; 

land, 157, 158 e. 
Pleasant ‘Hill, Falmouth, 160 
Pooler’s, Livermore F alls, 345 
Portland Flutists Society, 254 
Portland Municipal, 270 
Portland Museum, 161 
Portland Theatre, 336 
Smith’s, Sanford-Springvale, 350 
St. Cecilia, Skowhegan, 351 
Stimson’s, Portland, 254 
Waterville Symphony, 305 
Wiswell Saxophone, Machias, 345 
Young Ladies, East Machias, 196 

Organ, Beethoven Society, 48 

Organ builders, 323 

Organ, Second Parish Church, 46 

Oriental Harmony, 2 

Orpheus Club, Rockland, 181, 182 

Orpheus Symphony Club, Portland, 158 

Owenagungas, 1 


P 


Parish Harmony, The, 30 
Parker Glee Club, Lewiston, 297 
Parlor Musical Society, Belfast, 193 
Parochial Schools, 162 
Passamaquoddy Song of Greeting, 3 . 
Peace Jubilee, National, Boston, 186, 190, 300 
Pennell Choir, Portland, 164 
Penobscot Barter Song, 2 
Penobscot Medicine Song, 3 
Penobscot Song of Greeting, 2 
Penobscot War Song, 3 ‘a 
Penobscot Musical Association, 90 to 96, 98, 113 

to 116, 168, 279 . 
People’s Community Chorus, Portland, 249, 3 

250, 251 Ms 
Pepperell Academy, 99 
Philharmonic Chorus, Lewiston, 189 7 
Philharmonic Club, Lewiston, 207, 293, 294, 295 E. 
Philharmonic Club, Millinocket, 298 
Philharmonic Trio, Portland, 253 
Philo Harmonic Society, Cumberland, 61, 62 
Philo Harmonic Society, New Gloucester, 62 
Piano manufacturers, 324 
Pianos, Old, 327 
Piscataquis Musical Association, 184 
Polyphonic Club, Portland, 151 
Portland Academy, 44 
Portland Academy of Music, 69, 70 
Portland Academy Choir, 69 
Portland Ancient Harmony Society, 156, 157. 
Portland chamber concerts, 162 
Portland Chamber Music Club, 253 
Portland choirs, 261 * 
Portland Choral Union, 156 


GENERAL INDEX S41 


Portland City Hall, 270 

Portland Community Chorus, 249 
Portland Community Music Association, 250 
Portland Concert Company, 160 
Portland English Glee Club, 154 
Portland Flutist’s Society, 254 
Portland Men’s Singing Club, 255, 256 
Portland Municipal Orchestra, 270 277 
Portland Municipal Ensemble, 272 
Portland Museum, 161 

Portland Musical Association, 151 


Portland Music Commission, 266, 267, 269, 270, 


272 
Portland Orchestral Society, 87, 157, 255, 256, 


270 
Portland Orchestral Union, 168 
Portland Philharmonic Orchestra, 159, 168 
Portland Philharmonic Orchestral Society, 158 
Portland Polyphonic Society, 258 


Portland Rossini Club, 122, 140 to 150, 168, 272, 


307, 310, 314 


Portland Sacred Music Society, 69 to 86, 80, 82, 


118, 144, 167, 168, 185 
Portland Trio, 253 
Powers Institute, 107 
Princeton College, 15, 17 
Psalm, Lining out the, 14 


Q 


QUARTETTES 
Alpha, Lewiston, 191 
Amphion Male, Norway, ie 
Amphion Male, Portland, 159 
Apollo, Bangor, 179 
Ariel, Rockland, 181, 182 
Arion, Belfast, 194 
Artistes, Portland, 160 
Bath Quartette Club, 195 
Cecilia, Portland, 156, 261 
Cecilian Ladies’, Portland, 156 
Cosmopolitan, Portland, 261 
Euterpe, Bangor, 261 
Excelsior, Saco, 261 
Favorite Four Male, Rumford, 261 
Forest City, Portland, 159 
Harmony Four, Lewiston, 261 
Harvard, Portland, 260 
Haydn, Portland, 159 
Knickerbocker Male, Portland, 261 
Ladies’, Belfast, 194 
Ladies’, Guilford, 261 
Ladies’, Portland, 310 
Ladies’ Aria, Portland, 261 
Mendelssohn, Portland, 260 
Mendelssohn Quartette Club, Boston, 89 
Mozart, Portland, 260 
Penobscot, Bangor, 178 
Philomela, Lewiston, 190 
Pilgrim Male, Portland, 260 
Portland Museum, 161 


QuartTeTrTEs — Continued 
Schubert, Portland, 253 
Shaw, John L., Portland, 87, 159 
Shumann, Auburn, 191 
State St. Church, Portland, 190 
Stockbridge, Portland, 159 
Temple, Kennebunk, 261 
Temple, Portland, 260 
Warren Male, Westbrook, 261 
Winthrop, 198 


R 


Ricker Hall, 317 

Rockland Choral Association, 300 

Rossini Choral Union, Lewiston, 189 

Rossini Club, Damariscotta, 184 

Rossini Club, Portland, 122, 140 to 150, 168, 
272, 307, 310, 314 

Rubinstein Club, Rockland, 300 to 302 


S 


Saco Chorus Club, 191 

Saco Glee Club, 192 

Saco Valley Festival Chorus, 248, 249 
Sanford Men’s Singing Club, 303 

School Music, 162, 163, 165, 199, 309, 316 to 322 
School Music Supervisors, 321 

Schubert Club, Kennebunk, 306 

Schubert Club, Skowhegan, 183 

Schumann Club, Bangor, 279 to 281 
Schumann Club, Portland, 158 

Schumann Musical Association, Lewiston, 190 
Singing by Note, Objections to, 11 
Skowhegan Academy, 33 

Skowhegan Historical Society, 32 

Smith College, 309 

Somerset Choral Society, 304 

Somerset Sacred Music Society, 98, 99, 100 
Songs of Zion, 30, 31 

Staff Club, Washburn, 304 

State band and orchestra contest, 321 

State Liberty Chorus, 250, 251, 252 
Stoughton Musical Society, 22-320 

Strand Theatre Orchestra, Portland. 25k 

St. Cecilia Society, Bath, 195 

St. John’s School, Bangor, 162 

St. Peter, The Oratorio, {21° 124 t0 £26, 136, 137 


4s 


Tarranteens, I 
Temple Street Church, Portland, 70 
Templi Carmina, The, 28, 29 
Town named for musician, 38 
Town named for Psalm Tune, 23 
Towns, Psalm Tunes named for Maine 
Anson, 29 
Bath, 20, 29 
Buckfield, 29 
Cumberland, 20, 68 


542 GENERAL INDEX 


Towns, Psalm Tunes named for Maine—Cont’d Urania, 1 5 


Farmington, 20 
Friendship, 20 
Hallowell, 20, 29, 30 
Hanover, 29 
Hartford, 29 
Hollis, 
Lincoln, 20 
Minott, 29 
Monmouth, 29 
New Durham, 29 
New Sharon, 20 
Norway, 68 
North Yarmouth, 29 
Otisfield, 68 
Poland, 68 reeves 
Portland, 29, 68 
Pownal, 68 
Readfield, 20 
Sumner, 29 
Turner, 20, 29 
Union, 20 
Unity, 20 
Wells, 68 
Winthrop, 20, 29 
Wiscasset, 29 
York, 20 
Tufts College, 195 
Tything Man, 13 


U 


Union Hall, Augusta, 276 

Universalist Church, Hallowell, 89 
University of Maine, 223, 278, B17, 0418 
University of Tokio, 105 


Uranian Society, 7 


Village Harmony, The, 28, 29 
Violin Instructor, The, 67 

Violin Makers, 326, 32 
Violin Preceptor, 4 
Violinists, 311 


Walter’ s Singing Book, 10, 
Waseca Club, Auburn, 294 — 
Washington _ Hall, Bel ast, (oon 
Waterville College, 68 . 
Weber Club, Portland, 7 
Wellesley College, 310° 
Wesleyan ee oe 


Westbrook Seminars 
Western Maine 
221 to 228 i 
West Penobscot Musical’ tion, 31° 
Wight Philharmonic Club, Rock: a4 
Women’ “i ice Society, 59 


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